Category Archives: CONVERSATION


THE REPORT—written and directed by Scott Z. Burns—will screen during the first week of the MoMA Contenders 2019 series at the Hammer Museum. Burns will be on hand for a Q & A following the screening.

Featuring Adam Driver as a Senate committee investigator and Annette Bening as his boss—senior California Senator Dianne FeinsteinTHE REPORT is essential viewing for anyone even remotely curious about how government agencies tasked to protect the country often bungle the job in a morass of startling incompetence, territorial pride, political self-dealing, and ideological zealotry.

Burns’ lucid script and mise-en-scène tell the story of the Bush-Cheney Administration’s illegal, inept torture program following 9/11 and its aftermath—a decade and a half of discovery, investigation, destroyed documents, and thwarted oversight.

Tickets for the MoMA Contenders series are $20 general and $10 for Hammer Museum members.

THE REPORT with Scott Z. Burns

Tuesday, December 3, at 7:30 pm.

Billy Wilder Theater—Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

Scott Z. Burns, The Report (2019), from top: Adam Driver and Linda Powell; Annette Bening, photograph by Atsushi Nishijima, courtesy of the Sundance Institute; American poster; Jon Hamm; Bening and Driver. Images courtesy and © the filmmaker, the actors, the photographers, and Amazon Studios.


I’m interested in awkward operas; operas in which there are unsolved riddles… in which there’s a space—both musically and thematically—for a world to evolve and be imagined around the story. William Kentridge

In conjunction with the upcoming Metropolitan Opera’s new production of Alban Berg’s WOZZECK—featuring production design by Kentridge—the artist will be at the Morgan Library and Museum for a talk about his work.


Sunday, December 1, at 3 pm.

Morgan Library and Museum

225 Madison Avenue (at 36th Street), New York City.

From top: William Kentridge in his Johannesburg studio, early movement rehearsal for Wozzeck; Peter Mattei in the title role; Elza van den Heever as Marie; Kentridge charcoal drawing backdrop; Kentridge in his studio; performers and Kentridge in his studio (3). Images courtesy and © the artist, the performers, the photographers and videographers, and the Metropolitan Opera.


The film demands that you, the viewer, engage immediately and unceasingly with the protagonists and their plight, leaving you drained and astounded.Deirdre Towers

Although AND THEN WE DANCED—the first LGBTQ drama set in Georgia—has received widespread critical acclaim across Eastern Europe (winning Best Film and Best Actor this year at Odessa), the film’s shooting schedule was frequently disrupted and the set in Tbilisi often resembled a guerrilla production. Earlier this month right-wing groups staged violent protests outside the hometown premiere—which was standing-room only—and it was noted that the film’s choreographer is credited as “Anonymous,” for fear of losing his job.

A story of same-sex attraction among two members of the National Georgian Ensemble, AND THEN WE DANCED will screen on the closing days of this year’s AFI FEST presented by Audi. The film’s leads—Levan Gelbakhiani (a phenomenal young actor making his debut) and Bachi Valishvili—will join their director Levan Akin for post-screening conversations with the audience.


Wednesday, November 20, at 2:45 pm.

Thursday, November 21, at 8:45 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

Levan Akin, And Then We Danced (2019), from top: Levan Gelbakhiani; Gelbakhiani and Anna Javakishvili; Bachi Valishvili (left) and Gelbakhiani (2); poster; Gelbakhiani and Valishvili (2); Gelbakhiani. Images courtesy and © the filmmaker, the actors, the photographers, Quarter Film, and Takes Film.


I want to corroborate Black women’s reality. Some of us feel safe and some of us do not, but within that spectrum, there’s grief, there’s relief, there’s whimsy. There are feelings of anxiety and apprehension, but also faith and trust. Our inner world is layered and super vast, and I want us to be able to see that depicted on the screen, witness Black women having these interior moments…

I call myself a director who edits, but I’m probably an editor who directs … The idea of handing this over to someone else is so foreign, so counterintuitive. For me, that’s where the real making takes place. So my process is sourcing footage from everywhere, whether that be the internet or some image I’m creating myself or a collaboration with a DP or an archive. But the actual process begins once we sit down at that hard drive, because it’s important for me to have that level of control. Ja’Tovia Gary, interview with Rooney Elmi, 2019

This week at the AFI FEST presented by Audi, Gary brings her new 40-minute film THE GIVERNY DOCUMENT—which incorporates footage shot in New York City and at Monet’s historic gardens in France.

THE GIVERNY DOCUMENT will be preceded by BLACK BUS STOP (9 min,), directed by Kevin Jerome Everson and Claudrena N. Harold.


Tuesday, November 19, at 7:45 pm.

Wednesday, November 20, at 3:15 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

From top: Ja’Tovia Gary, image courtesy and © the artist and the photographer; Ja’Tovia Gary, The Giverny Document (2019), images courtesy and © the artist.


As part of the Warhol Lecture Series, Donna De Salvo—curator of the exhibition ANDY WARHOL—FROM A TO B AND BACK AGAIN, organized by the Whitney and now at the Art Institute of Chicago—will talk about the artist’s impact and importance, followed by a reception and dinner on the Near North Side.


Wednesday, November 20, at 6 pm.

Art Institute of Chicago, Fullerton Hall

111 South Michigan Avenue, Chicago.

Reception and Dinner


18 East Bellevue Place, Chicago.

Andy Warhol—From A to B and Back Again, Art Institute of Chicago, October 20– January 26, 2020, from top: Self-Portrait, 1966, Art Institute of Chicago; Gun, 1981–82, San Francisco Museum of Modern Art; Nine Jackies, 1964, Whitney Museum of American Art, New York; Ladies and Gentlemen (Marsha P. Johnson), 1975, Museum Brandhorst, Munich; Green Coca-Cola Bottles, 1962, Whitney Museum of American Art, New York; Skull, 1976, collection Larry Gagosian; Big Electric Chair, 1967–1968, Art Institute of Chicago; Shot Orange Marilyn, 1964. Images courtesy and © the lenders and the Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.