Tag Archives: Laemmle Monica Film Center

SUSANNE BARTSCH ON TOP

“Bartsch picked up where Warhol left off.” — RuPaul

History is made at night. In her capacity as party-throwing club-kid den mother and AIDS fundraiser par excellence, Susanne Bartsch provided a sanctuary of free expression for those pushed to society’s margins while engaging in what Ingrid Sischy called “the most serious political action of our time.”

Sischy was referring to the 1989 Love Ball at Roseland, a Design Industry Foundation for AIDS event that brought Harlem’s vogue balls to midtown Manhattan, introduced Madonna to the uptown cultural practice, and raised $400,000 to help fight the disease that was decimating Bartsch’s circle.

Prior to hosting events in clubs all over town, Bartsch was the proprietor of the eponymous SoHo boutique that was the first in town to import the clothes of Vivienne Westwood and John Galliano. As one of the most imaginative exemplars of sartorial self-adornment of the last half-century, Bartsch was honored with a 2015 Fashion Institute of Technology exhibition Fashion Underground—The World of Susanne Bartsch.

The riveting documentary SUSANNE BARTSCH—ON TOP (directed by Anthony Caronna and Alexander Smith) brings this only-in-New York story to the screen with new interviews, extensive documentary footage, and home movies of Bartsch’s family life at the Chelsea Hotel.

Bartsch—whose personal aesthetic and Swiss accent recall a Dada/Weimar-era ballet mécanique—was the leader of a very fast pack, and this cinematic tribute is a moving critique of gender norms and an inspiration for boundary-breakers everywhere.

 

SUSANNE BARTSCH—ON TOP

Through September 13.

Monica Film Center, 1332 2nd Street, Santa Monica.

VOD release on September 11.

See: New York is Burning

and: Fashion Underground—The World of Susanne Bartsch

Top: Susanne Bartsch (right) and RuPaul at the opening of Fashion Underground—The World of Susanne Bartsch.

Above: Bartsch and her husband, fitness entrepreneur David Barton.

Below: Bartsch applying an eyepiece. Image credit: The Orchard.

SOLLERS POINT

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McCaul Lombardi—like his co-star Sasha Lane—grabbed the attention of casting directors and fashion houses after his riveting turn in the 2016 Andrea Arnold film American Honey.

For SOLLERS POINT—a new independent film written and directed by Matt Porterfield, from a story co-written by Amy Belk and Porterfield—Lombardi returns to his hometown of Baltimore.

“The wonder of SOLLERS POINT—an exceptionally sly and sneaky film in the best sense—is its sense of balance seemingly in midair. Porterfield relies on a constellation of details to build a dramatic framework that’s as strong as it is slender, shaping the plethora of sharply sculpted and ardently observed moments like a powerful magnetic field.

“In the process, this quiet, brisk, and reserved film brings to the fore characters who are sketched by Porterfield in vitally alert and curious impressions that provide a teeming sense of a community taut with the social bonds of family, history, and memory.” — Richard Brody*

 

SOLLERS POINT, through May 31.

LAEMMLE MONICA, 1332 2nd Street, Santa Monica.

laemmle.com/film

newyorker.com/sollers-point-brilliantly-confronts-the-ugliest-aspects-of-modern-american-life

sollerspoint.oscilloscope.net

McCaul Lombardi (left) and a member of the film crew of Sollers Point, in Dundalk, Maryland, just east of Baltimore.

Photograph by David Robert Crews.

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CLAIRE DENIS’ SUNSHINE

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LET THE SUNSHINE IN—the brilliant new film from Claire Denis that is not, contrary to reports, based on Barthes’ Fragments d’un discours amoureux—has been held over by Laemmle until June 21.

LET THE SUNSHINE IN

June 15 through June 21.

Monica Film Center

1332 2nd Street, Santa Monica.

 

Through June 14:

Royal

11523 Santa Monica Boulevard, West Los Angeles.

 

Through June 7:

Playhouse

673 East Colorado Boulevard, Pasadena.

 

Through May 31:

Town Center

17200 Ventura Boulevard, Encino.

Juliette Binoche (below with Nicolas Duvauchelle) in Let the Sunshine In.

CHOREOGRAPHING BERGMAN

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The documentary INGMAR BERGMAN THROUGH THE CHOREOGRAPHER’S EYE (2016, directed by Fredrik Stattin) will screen this weekend as part of the 17th annual Dance Camera West Film Festival.

Choreographers Alexander Ekman, Pär Isberg, Pontus Lidberg, and Joakim Stephenson—joined by Royal Swedish Ballet principals—interpret, in four performances, Bergman’s ideas on movement, music, and human relationships.

 

INGMAR BERGMAN THROUGH THE CHOREOGRAPHER’S EYE, Saturday, April 14, at 3 pm.

LAEMMLE MONICA FILM CENTER, 1332 2nd Street, Santa Monica.

dancecamerawest.org

Stills from Ingmar Bergman Through the Choreographer’s Eye.

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GOLDEN EXITS

“Love, jealousy, deficiency… no destination, and no hope for a clean getaway.”— Sam (Lily Rabe), on family life, in GOLDEN EXITS

The “golden exits” in Alex Ross Perry’s remarkable new film are the hoped-for high notes of departure members of a middle-class, middle-aged Brooklyn circle never quite manage to make. It would be nice to walk off into a golden hour sunset, but this group—the archivist Nick (Adam Horovitz), his wife Alyssa (Chloë Sevigny), his assistant Naomi (Emily Browning), among others—is stuck in perpetual, fascinating orbit around the townhouses, bars, pizzerias, and document-filled basements of Cobble Hill and Carroll Gardens.

Mary-Louise Parker—as Alyssa’s sister Gwen—plays her usual monster of quiet aggressions, and nobody does it better.

 

GOLDEN EXITS, through Thursday, February 22.

MONICA FILM CENTER, 1332 Second Street, Santa Monica.

laemmle.com/films

See Nick Pinkerton’s Film Comment interview with Alex Ross Perry:

filmcomment.com/blog/interview-alex-ross-perry

Mary-Louise Parker and Chloë Sevigny in Golden Exits (2017). Image credit: Vertical Entertainment/Stage 6 Films.

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