Tag Archives: Laemmle Town Center 5



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.


June 15 through June 21.

Monica Film Center

1332 2nd Street, Santa Monica.


Through June 14:


11523 Santa Monica Boulevard, West Los Angeles.


Through June 7:


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.


Elvis Mitchell: “You’ve made a film where art has replaced religion… The artist, played by Dustin Hoffman, feels patronized by the world. [Through his dialogue] he’s a narcissist writing history as it happens, as if no one around him is living it at the same time.”

Noah Baumbach: “Dustin told me that his lines were hard to remember because they referenced nothing external, but were all self-referential self-assessments… The best compliment I ever got was from Mike Nichols…”

Mitchell: “Well… ” [laughs]

Baumbach: “Nichols said, ‘You realize how embarrassed we all are.’ ”

(Conversation from the October 12 LACMA screening of Baumbach’s THE MEYEROWITZ STORIES (NEW AND SELECTED), which was followed by a Q & A with Mitchell, curator of Film Independent at the museum.)

Embarrassment—recognized and shared—is always a delight in a room full of fellow movie-goers watching a new comedy by Noah Baumbach. And while Baumbach is happy for his current Netflix association, he’d prefer that you see his work in a cinema.



LANDMARK, 10850 West Pico Boulevard, Rancho Park, Los Angeles.


LAEMMLE NOHO, 5240 Lankershim Boulevard, North Hollywood.


Opening Friday, October 27:

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

TOWN CENTER, 17200 Ventura Boulevard, Encino.



Noah Baumbach (left) and Elvis Mitchell at LACMA, October 12, 2017. Image courtesy of WireImage and Film Independent.



A star was born last spring at the COLCOA screening of DALIDA, a sweeping, big-screen biopic in the manner of Love Me or Leave MeLady Sings the Blues, and I’ll Cry Tomorrow. This week, Angelenos can see what the fuss was about in a series of Monday night screenings, courtesy of Laemmle.

In the title role, Sveva Alviti pulls out all the stops as the towering, tragic international chanteuse Dalida, climbing the charts while unsuccessfully navigating perfidious showbiz, bad marriage choices, and an irreversible spiral of despair.


DALIDA, Monday, October 23, at 7:30 pm.

LAEMMLE ROYAL, 11523 Santa Monica Boulevard, West Los Angeles.

LAEMMLE PLAYHOUSE, 673 East Colorado Boulevard, Pasadena.

LAEMMLE TOWN CENTER, 17200 Ventura Boulevard, Encino.

LAEMMLE CLAREMONT, 450 West 2nd Street, Claremont.



DALIDA is also the opening night feature at this year’s ARPA International Film Festival in Hollywood.

Friday, November 3, at 8 pm.

EGYPTIAN THEATRE, 6712 Hollywood Boulevard, Los Angeles.



DALIDA, video on demand, from December 5. All platforms.

Sveva Alviti and Nicolas Duvauchelle in Dalida (2017). Image credit: Under The Milky Way.



To the list of modernist structures that have become cinematic characters in their own right—Casa Malaparte in Godard’s Le MéprisVilla Necchi Campiglio in Luca Guadagnino’s Io sono l’amore—add the libraries, office buildings, churches, banks, and private homes designed by Eero Saarinen, Eliel Saarinen, Myron Goldsmith, Deborah Berke, James Stewart Polshek, and Edward Bassett that provide sanctuary for damaged souls and stand sentry against superfluity in the new film COLUMBUS.

Written and directed by Kogonada, and set in Columbus, Indiana—a modernist Oz 230 miles south-southeast of Chicago—COLUMBUS centers on Casey (Haley Lu Richardson), a recent high-school graduate in her gap year (or two, or three), attuned to her city’s masterpieces, and grateful for the sense of order imposed by her surroundings. Her new friend Jin (John Cho), a new arrival, is the son of a visiting, and recently stricken, architect. At one point, Casey mentions to Jin that a building they’re walking toward is “asymmetrical, but also still balanced.” She could be describing herself.

The film takes the form of Modernism itself: spare, mysterious, inspiring contemplation, at times deliberately elliptical—but richly rewarding for viewers willing to stop and look and listen.

COLUMBUS, September 29 through October 5.

MUSIC HALL, 9036 Wilshire Boulevard, Beverly Hills.

Through September 7.

PLAYHOUSE, 673 East Colorado Boulevard, Pasadena.

Through August 31.

LANDMARK, 10850 West Pico Boulevard, Rancho Park, Los Angeles.

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

Through August 24.

TOWN CENTER, 17200 Ventura Boulevard, Encino.



COLUMBUS, through August 10.

Kogonada will participate in a Q&A after the 5 pm and 7:30 pm shows on Sunday, August 6.

NUART THEATRE, 11272 Santa Monica Boulevard, West Los Angeles.


Also see:  landmarktheatres.com/columbus-filmmaker-letter

and:  kogonada.com

Bottom: Miller House, Eero Saarinen, 1953. Interior design by Alexander Girard. Garden design by Dan Kiley.

Image credit: Indianapolis Museum of Art.

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For the last ten years, Catherine Deneuve has been playing versions of herself—an intelligent, independent, chic woman of a certain age, a great, well-preserved beauty (a nip here, a tuck there) with the signature blonde Deneuve helmet and ever-present cigarette. Regrets, she’s had a few, but she wears her battle scars lightly and—fortunately for us—shows no sign of slowing down.

In her new film THE MIDWIFE, written and directed by Martin Provost, she plays Béatrice, a gambler—literally and figuratively. Living on grand casino memories and sketchy loan arrangements with old comrades, she’s been reduced to backroom card games with deliverymen and taxi drivers on their lunch break. (A Deneuve character in an animal-print coat, blouse, or scarf signals “downmarket.”)

On top of everthing else, Béatrice has just gotten news of a serious health crisis. So, before it’s too late, she attempts one last reunion with a long-abandoned ex-lover, a swimming champion. (And a specimen of singular male beauty interestingly doubled in the film by Quentin Dolmaire, last seen in his breakout performance in Arnaud Desplechin’s My Golden Days.) To find the former lover, Béatrice tracks down his daughter, played by the great Catherine Frot as the midwife of the title.

What follows is an exceptionally well-made and often comic examination of two disparate hustlers—one devil-may-care and resigned to her fate, the other earnestly navigating corporate downsizing in the health care industry—who finally find comity and joy in a rapidly contracting world.



Through August 10.

Laemmle Royal

11523 Santa Monica Boulevard, West Los Angeles.

Laemmle Playhouse

673 East Colorado Boulevard, Pasadena.

Laemmle Town Center

17200 Ventura Boulevard, Encino.

Above: Catherine Deneuve in The Midwife/Sage-femme (2017).

Below: Deneuve and Catherine Frot. Image credit: Music Box Films.