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CLAIRE DENIS’ SUNSHINE

UN BEAU SOLEIL INTÉRIEUR / 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 until June 21. LET THE SUNSHINE IN, June 15 through June 21. LAEMMLE MONICA FILM CENTER, 1332 2nd Street, Santa Monica. Through June 14: LAEMMLE […]

BAUMBACH’S STORIES

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 […]

DALIDA

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 Me, Lady 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, […]

KOGONADA’S COLUMBUS

To the list of modernist structures that have become cinematic characters in their own right—Casa Malaparte in Godard’s Le Mépris, Villa 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 […]

DENEUVE AT ZENITH

For the last ten years, Catherine Deneuve has been playing, on screen, a make-believe version 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 […]

TERENCE DAVIES’ MASTERPIECE

The cinema of Terence Davies has drawn on the books and plays of Edith Wharton (The House of Mirth), John Kennedy Toole (The Neon Bible), and Terence Rattigan (The Deep Blue Sea). His early works (Distant Voices, Still Lives and The Long Day Closes) were autobiographical. Davies was not—is not—out and proud, but homosexual and […]