Tag Archives: Aero Theatre

VARDA BY AGNÈS AT THE AERO

Three words are important to me: inspiration, creation, and sharing… I don’t care if my films make money. I care that my films are seen and are loved. Agnès Varda

“My mother was very funny—left wing but not politically correct. We traveled a lot together. She was so curious and she loved gossip. Qui baise qui?

“Agnès was 89 when we started VARDA BY AGNÈS. She had lung cancer and we could only work three hours a day. This film was so difficult, going from the editing room to the hospital to the editing room…

“My mother would say, Don’t complain too much. Do it. We work hard, but it should look easy. We should not show the ‘work.’ Rosalie Varda, Agnès’ daughter and a co-producer of VARDA BY AGNÈS, in conversation with Ava DuVernay*

Agnès Varda didn’t like or use the word “master” to refer to herself or her work—what she called her cinéma écriture—but VARDA BY AGNÈS, her final film, is undeniably a master class in cinema, and a “characteristically playful, profound, and personal summation of the director’s own brilliant career.”

Now playing at the Aero Theatre, these American Cinematheque screenings of VARDA BY AGNÈS will be introduced by a variety of guests, including Illeana Douglas, Julie Delpy, Chloe King, Lisa Blok-Linson, Lynne Littman, Jim McBride, and Peter Debruge. See link below for details.

VARDA BY AGNÈS

Through December 11.

Aero Theatre

1328 Montana Avenue, Santa Monica.

*Rosalie Varda and Ava DuVernay in conversation, Array 360° Film Series, November 2, 2019, Array Campus, Los Angeles.

From top: Agnès Varda on the set of Uncle Yanco (1967); Varda, behind camera, shooting her first feature La Pointe court (1955); Silvia Monfort and Philippe Noiret in La Pointe court; Alain Resnais and Varda editing the film; Corinne Marchand, Cléo de 5 à 7 (1962); Le Bonheur (1965); Varda, Visages Villages (2017), co-directed by Varda and JR; Varda and Jean “Yanco” Varda, Uncle Yanco; Kathleen Cleaver in Black Panthers (1968); James Rado (left), Viva, and Gerome Ragni in Lions Love (…and Lies) (1969); Varda by Agnès (2019) (2); Jeanne Moreau (left), Hanna Schygulla, and Michel Piccoli (as Simon Cinéma) in One Hundred and One Nights (1995); 72nd Festival de Cannes tribute poster, 2019; Varda by Agnès. Images courtesy and © Ciné Tamaris, MK2, Criterion, and Janus Films.

PHILIP KAUFMAN AND JULIETTE BINOCHE IN CONVERSATION

Philip Kaufman has never done anything like this, but his experiment is a success in tone. He has made a movie in which reality is asked to coexist with a world of pure sensuality, and almost, for a moment, seems to agree. Roger Ebert, 1988

Following an American Cinematheque 35mm presentation of Kaufman’s masterwork THE UNBEARABLE LIGHTNESS OF BEING—co-written by Jean-Claude Carrière—join Juliette Binoche and the writer-director for a post-screening Q & A.

PHILIP KAUFMAN and JULIETTE BINOCHE

THE UNBEARABLE LIGHTNESS OF BEING

Sunday, November 10, at 5 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Philip Kaufman, The Unbearable Lightness of Being (1988), from top: Daniel Day-Lewis and Juliette Binoche; Lena Olin (2), Day-Lewis and Olin. Images courtesy and © the filmmaker, the actors, and the Saul Zaentz Company.

AGNÈS VARDA — MUR MURS

I reuse a couch—this delays its death. I film murals that are ephemeral—maybe they’ll become a little less so.Agnès Varda

MUR MURS—Varda’s 1980 celebration of Los Angeles muralists and their work—screens for one night only at the Aero Theatre.

This American Cinematheque event is co-presented by the French Film and TV Office of the French Consulate. Varda’s son Mathieu Demy will introduce the film.

MUR MURS

Tuesday, November 5, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Agnès Varda, Mur Murs (1980). Images courtesy and © the filmmaker’s estate and Ciné-Tamaris.

BÉLA TARR — SÁTÁNTANGÓ

The 4K restoration of SÁTÁNTANGÓBéla Tarr’s durational magnum opus, based on the novel by László Krasznahorkai—will screen twice this month, presented by the American Cinematheque.

Early on, I noticed that when the camera is rolling and the whole scene is moving, everyone starts to breathe in the same rhythm: the actors, the crew members, the cinematographer, everyone. You are all “in.” And that is very important. It creates a special tension. It gives a special vibration. Somehow you can feel it on the screen too. You become a part of it.Béla Tarr

SÁTÁNTANGÓ

Sunday, October 13, at 2 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Saturday, October 26, at 2 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

Béla Tarr, Sátántangó. Images courtesy and © the filmmaker and Arbelos Films.

ALAIN DELON AND JEAN GABIN AT THE AERO

As a centerpiece of the fifth edition of its The French Had a Word for It festival of noir, the American Cinematheque presents 35mm prints of three Alain Delon crime thrillers, two of them opposite Jean Gabin as the embodiment of the term “OG à la française.”

But first Gabin plays on the right side of the law as inspector Maigret and commandant Lequévic in, respectively, MAIGRET AND THE ST. FIACRE CASE (1959) and PORT DU DESIR (1955).

Long before Dennis Hopper or Matt Damon, John Malkovich or Barry Pepper, Delon was the archetype of Patricia Highsmith’s indelible passive-aggressive villain Tom Ripley, and his star turn in PURPLE NOON (1960) brought Delon to the world’s attention. The film—beautifully directed by René Clément—screens on Saturday afternoon.

Saturday night brings the double bill of MÉLODIE EN SOUS-SOL(1962)—a highly stylized casino caper set in Cannes—and THE SICILIAN CLAN (1969), in which criminal heavies Delon and Gabin must contend with the gravitational pull of Lino Ventura. Both films were directed by Henri Verneuil.

MAIGRET AND THE ST. FIACRE CASE and PORT DU DESIR

Friday, September 6, at 7:30

PURPLE NOON

Saturday, September 7, at 4 pm.

MÉLODIE EN SOUS-SOL and THE SICILIAN CLAN

Also screening, all 7:30 pm double features:

QUAI DES ORFÈVRES and THE SLEEPING CAR MURDER—the feature debut of Costa-Gavras—on Thursday, September 5.

PANIQUE—directed by Julien Duvivier—and NON COUPABLE on Sunday, September 8.

Aero Theatre

1328 Montana Avenue, Santa Monica.

From top: Alain Delon in Purple Noon; Jean Gabin in Maigret and the St. Fiacre Case; Port du desir poster; Delon in Purple Noon (2); Mélodie en sous-sol poster; Delon in Mélodie en sous-sol; Les clans des siciliens poster.