Tag Archives: Los Angeles FilmForum


For the viewer enamored with arthouse, experimental, experiential and extremely lyrical cinema, it takes less than five minutes to get wholly immersed in this ethereal, boldly unconventional phantasmagoria which eschews historical/biblical narrative in favor of the sensual visuals and chic baroque atmosphere. Although it does feature the Dance of the Seven Veils, SALOMÉ refuses to tell the (familiar) story and instead opts for satiating our appetite for aesthetic pleasure. Ars gratia artis it may be, yet it hardly ever fails to impress, holding you in its gentle embrace…

Its pure, unadulterated magic relies on soft light, warm colors, strong chiaroscuro, deliberate pacing and slow-motion ‘action’ which turns the archetypal characters into partakers of a strange ritual of unfathomable purpose. As Eros and Thanatos dance like they are making love, the ripe darkness that surrounds them engulfs their hypnotized worshippers and drives them into sublime ecstasy. However, it is not only them who are under hypnosis, but us as well, with our gazes transfixed to the screen and ourselves lost in contemplative reveries.Nikola Gocić

Dirty Looks and the Los Angeles Filmforum present a special, one-night-only screening of Teo Hernández’ richly impressionistic take on SALOMÉ at the Philosophical Research Society.

Dorian Wood—fresh off his Redcat incarnation in Xavela Lux Aeterna—will perform a score created for the event, “marrying the operatic evocations of Wood’s singular voice with Hernández’ baroque cinematography in the unique, Mayan-inspired architecture” of the venue.*


Thursday, December 5.

Doors at 7:30 pm, screening at 8 PM.

Philosophical Research Society

3910 Los Feliz Boulevard, Los Angeles.

Teo Hernández, Salomé (1976), images courtesy and © the Teo Hernández Fund, Kandinsky Library, and Centre Pompidou, Paris.


Join filmmaker Marielle Nitoslawskal for the Los Angeles premiere of her Carolee Schneemann documentary BREAKING THE FRAME.

Presented by the Los Angeles Filmforum at MOCA, BREAKING THE FRAME—shot in 35mm, 16, Super 8, and HD video over the course of six years—is a “kinetic, hyper-­cinematic intervention, a critical meditation on the relation of art to the physical, domestic and conceptual aspects of daily life and on the attributes of memory. It uses Schneemann’s autobiographical materials to narrate the historic upheaval within Western art in post-­war America.”*


Thursday, July 25, at 7 pm.

MOCA Grand

250 South Grand Avenue, downtown Los Angeles.

Marielle Nitoslawska, Breaking the Frame (2012), stills. Images courtesy and the filmmaker and Possible Movements.


As part of the Los Angeles Filmforum series 1968: Visions of Possibilities, MOCA will screen the Los Angeles 4K restoration premiere of Jean-Luc Godard’s ONE PLUS ONE—part documentary of how the Rolling Stones developed their song “Sympathy for the Devil” at Olympic Studios in London, part 1968 political agitprop by Godard in the wake of the May uprisings.

“Godard had the crew lay down tracking rails that ran in a figure-eight throughout the studio… In ten-minute takes, Godard followed the song’s metamorphosis from a straight-ahead rocker to a pantheistic samba. Drummer Charlie Watts put down his drumsticks in favor of Algerian hand drums, and the four backup singers (including Marianne Faithfull) congregated around a microphone for gospel exhortations.

“The last night of the shoot ended prematurely as the studio caught fire when a gel filter on an overhead light ignited.” — Richard Brody*

Alternating with the studio footage are scenes Godard shot with Anne Wiazemsky playing “Eve Democracy,” who, followed by a documentary crew, responds to elaborate political questions—many of them lifted from a 1968 interview Norman Mailer did with Playboy—with “yes” or “no” answers. “In bringing Wiazemsky to London and casting her as the absurd and naïve Eve Democracy, Godard mocked not only democracy but Wiazemsky’s non-revolutionary commitment to it.”*


Thursday, November 8, at 7 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.


*Richard Brody, Everything is Cinema: The Working Life of Jean-Luc Godard (New York: Metropolitan Books, 2008), 338, 340.

From top:

Film poster with Jean-Luc Godard’s title. (An alternative cut—titled Sympathy for the Devil by the producers—re-edited the soundtrack of the film’s final scenes.)

The Rolling Stones and Marianne Faithful lay down the backing vocal track.

Anne Wiazemsky in her One Plus One final scene.

Godard and Mick Jagger during filming.

The Stones at Olympia Studios.

Image credit: ABKCO Films.


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As part of the Los Angeles Filmforum series 1968—Visions of Possibilities, documentary scholar Michael Renov will introduce Haskell Wexler’s landmark feature MEDIUM COOL, along with the short, YIPPIES.

Both films are a time capsule of Chicago in 1968, during the summer of that year’s infamous Democratic National Convention.



Sunday, July 29, at 7:30.

SPIELBERG THEATRE AT THE EGYPTIAN, 6712 Hollywood Boulevard, Los Angeles.



Above: Czech poster for Medium Cool .

Below: Robert Forster in Medium Cool.

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Foregrounds (O’Neill, 1978)

film still from Foregrounds (O’Neill, 1978) [not included in this program]

This weekend Los Angeles FilmForum presents: LA <===> AA, films from the 52nd Ann Arbor Film FestivalFilmmakers Thom Andersen, Daniel Brantley, Sílvia Das Fadas, Andrew Kim, Troy Morgan, Charlotte Pryce, and Mark Toscano will be in attendance, along with AAFF Program Director David Dinnell. The screening takes place this Sunday, June 8th at 7:30PM at The Velaslavasay Panorama.

Will o' the Wisp, by Andrew Kim, 2013

Will o’ the Wisp, by Andrew Kim, 2013


Grip, Daniel Brantley, 2013

With Pluses and Minuses, Mike Stoltz, 2013

With Pluses and Minuses, Mike Stoltz, 2013