Tag Archives: Egyptian Theatre

GAINSBOURG’S JE T’AIME MOI NON PLUS

This week, La Collectionneuse and the American Cinematheque present the 4K restoration of Serge Gainsbourg’s 1976 film JE T’AIME MOI NON PLUS, its first Los Angeles screening in many years. Starring Jane Birkin, Joe Dallesandro, and Hugues Quester, this truck-stop triangle was the first of only two features films Gainsbourg directed.

“Serge is the one who approached me. [Jane and Serge] were great people. Just a great couple that were truly a couple. They were fun to be with. It was really difficult to shoot a film where your love interest is the wife of the man who’s directing it. The film had to be erotic and I had to be very cool. I was doing multiplication tables in my head the whole time. But I loved both of them very much. They were very special people…

“[JE T’AIME MOI NON PLUS] was ahead of its time. I thought the public was gonna be ready for that kind of story. I thought it’d have been a nice success if they’d released it back then. But they weren’t giving Serge the kind of play he wanted.” — Joe Dallesandro

  JE T’AIME MOI NON PLUS

Wednesday, July 24, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Jane Birkin and Joe Dallesandro in Je t’aime moi non plus, with Hugues Quester (third from top, right) and director Serge Gainsbourg (fourth from top, center, on raft, and sixth from top, second from right).

LA COLLECTIONNEUSE

This week in Hollywood, Kalyane Lévy’s La Collectionneuse will screen the film her program is named for.

Co-presented by Women & Film and the American Cinematheque, Éric Rohmer’s LA COLLECTIONNEUSE (1967) is one of his beloved contes moraux, and stars Haydée Politoff, Patrick Bauchau, and Daniel Pommereulle.

Stay for post-screening drinks and music, with a DJ set by DJ Izella.

LA COLLECTIONNEUSE

Friday, June 21, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Haydée Politoff and Patrick Bauchau in La Collectionneuse.

HARMONY KORINE IN CONVERSATION

“I am always thinking about the cinema experience. That’s why I haven’t made television yet. Television is a writer’s medium. Not to say there aren’t good things in it, but television—no matter how good it is—is underwhelming. The size of it, and sitting in your living room. It’s pedestrian, whereas cinema is magic, it’s huge, it envelops you, and there’s something completely sensory when it works.” — Harmony Korine

On the eve of the release of The Beach Bum—his sixth feature—join Korine in Hollywood this week for two nights of double features and between-film conversations.

This American Cinematheque presentation of Korine’s films from the last twenty years includes his masterpiece Spring Breakers. All films will be screened in 35mm.

GUMMO and JULIEN DONKEY-BOY

Tuesday, March 19, at 7:30 pm.

TRASH HUMPERS and SPRING BREAKERS

Wednesday, March 20, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Rachel Korine in Spring Breakers; Bunny Boy in Gummo; Ewen Bremner in Julien Donkey-Boy; Trash Humpers. Images courtesy the artist, A24, Warner Bros., and Drag City.

WAR AND PEACE

In its expression of the epic, cinema has shifted from the battlefield to the computer, generating worlds beyond belief from bits of code. Hollywood—forever wary of the shrinking screen—embraced the live-action epic as a foundational genre, grown spectacular in the 1950s in a thwarted attempt to divert audiences from their newly purchased television sets. Millions of dollars were spent, millions were often lost, and even the masters of the form—Cecil B. DeMille, Stanley Kubrick, Akira Kurosawa, David Lean—were constrained by time, budget, and the whims of their producers.

No such limitations impeded the completion of Sergey Bondarchuk’s WAR AND PEACE (1966), the greatest epic in cinematic history and a Cold War triumph of Soviet filmmaking. This seven-hour retelling of Leo Tolstoy’s work was filmed over the course of five years, cost $100,000,000 (pre-inflation), and employed over 100,000 actors—including regiments of Red Army troops who precisely re-enacted Napoleon’s invasion of Russia.

So, the battles are here—as is the jaw-dropping sacking and burning of Moscow—but so are the day-to-day dramas of Bondarchuk’s three aristocratic protagonists: Prince Andrei (Vyacheslav Tikhonov), Natasha (dancer Ludmila Savelyeva), and Pierre (Bondarchuk himself). For Tolstoy, WAR AND PEACE was more of a philosophical explication than a novel, and Bondarchuk does not neglect the author’s theoretical digressions motivation, will, memory, and regret.

This weekend in Santa Monica, the American Cinematheque presents a screening of a new digital restoration of this four-part masterpiece, with an encore in Hollywood in April.

WAR AND PEACE

Sunday, March 10, at 2 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Saturday, April 27, at 2 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

War and Peace stills courtesy Mosfilm. From top: firing squad; Ludmila Savelyeva (right) as Natasha at her first society ball; Vyacheslav Tikhonov, as Andrei, on the battlefield (2); religious procession.

ROCCO AND HIS BROTHERS

ROCCO AND HIS BROTHERS(1960)—Luchino Visconti’s sixth feature—marked a return to the director’s neo-realist roots while simultaneously advancing the grand style he adopted in the mid-1950s with Senso.

“One of the most sumptuous black-and-white pictures I’ve ever seen.” — Martin Scorsese

This epic story of a southern Italian family transplanted to Milan stars Annie Girardot, Claudia Cardinale, Katina Paxinou, and—on the male side—a veritable Alasdair McLellan portfolio avant la lettre, led by Alain Delon in the title role of Rocco Parondi.*

“Like all migrants, they are in search of opportunity, but instead they find an environment that only magnifies their respective strengths and weaknesses.” — Scott Eyman

As part of the American Cinematheque series Luchino Visconti—Cinematic Nobility—co-presented by Luce CinecittàROCCO will screen twice this month in a DCP restored by Cineteca di Bologna in association with Titanus.

ROCCO AND HIS BROTHERS

Saturday, March 2, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

Saturday, March 30, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

*When a judge with the same name threatened to sue the filmmakers, the family name “Pafundi” in the original negative was changed, post-production, to “Parondi.”

From top: Alain Delon in Rocco and His Brothers; Renato Salvatori as brother Simone and Annie Girardot as Nadia; Luchino Visconti (second from left) on set; Max Cartier, as brother Ciro, and Delon; Salvatori (left), Visconti, Claudia Cardinale as Ginetta, and Delon on set; Delon, with Rocco Vidolazzi as younger brother Luca.