Tag Archives: Nuart Theatre


In the art-for-art’s-sake world of Christophe Honoré and his characters—gay men in love with love and the legends of representation that give their at-risk lives sense, sensibility, and station—matters of love, life, death are navigated through a filter of literature and performance, and this combination of high art and pop sentimentality brings solace.

In PLAIRE, AIMER ET COURIR VITE / SORRY ANGEL—now playing at the Nuart—the brief 1990s encounter of Jacques (Pierre Deladonchamps) and Arthur (Vincent Lacoste) is haunted by the long shadows and quotations of some of the writers Honoré recently celebrated in his stage piece Les IdolesBernard-Marie Koltès, Hervé Guibert—supplemented by queer icons and allies Jean Genet, Isabelle Huppert, Robert Wilson, Walt Whitman, W.H. Auden, David Hockney, Andy Warhol, and Rainer Werner Fassbinder.

Jacques, not willing to undergo yet another course of AIDS treatment, is reaching the end of his story just as Arthur—like Honoré, a transplant from the provinces—is beginning his. With a little help from his idols, Jacques can put Arthur on the path to become a proper young Parisian.


Through March 21.

Nuart Theatre

11272 Santa Monica Boulevard, West Los Angeles.

From top: Pierre Deladonchamps (foreground) and Vincent Lacoste in Sorry Angel; Deladonchamps; Deladonchamps and Lacoste; Lacoste.

NICO, 1988

“[In NICO, 1988, director] Susanna Nicchiarelli… takes us close to Nico’s tattered charisma, and to the haphazard rituals of her life, all to figure out what made her tick. Christa Päffgen [Nico] is running from her myth, yet she polishes it every time she drops a pensée like, ‘I’ve been at the top, I’ve been at the bottom: Both places are empty.’ ” — Variety

Trine Dyrholm’s performance as the singer has riveted audiences in Europe, and the American Cinematheque and USC will present preview screenings.

NICO, 1988

Thursday, July 26, at 7:30 pm.

Spielberg Theatre at the Egyptian 

6712 Hollywood Boulevard, Los Angeles.

NICO, 1988

Wednesday, August 1, at 7 pm.

Ray Stark Theatre

900 West 34th Street, Los Angeles.

Opens August 3.


11272 Santa Monica Boulevard, West Los Angeles.

From top: Trine Dyrholm in Nico, 1988; director Susanna Nicchiarelli on set with Dyrholm; Dyrholm. Images courtesy Magnolia Pictures.


Lisa Immordino Vreeland—director of documentaries about her grandmother-in-law Diana Vreeland, and Peggy Guggenheim—turns her eye to photographer, diarist, and set and costume designer Cecil Beaton in her new film LOVE, CECIL.

Vreeland will be at the Nuart this week for a post-screening Q & A.



Friday, July 20, at 7:15 pm.

Film plays through July 26.

Nuart Theatre

11272 Santa Monica Boulevard, West Los Angeles.

From top:

Poster image credit Zeitgeist Films.

Truman Capote in Morocco, photographed by Cecil Beaton.

Greta Garbo in New York City, photographed by Cecil Beaton.

Beaton at Truman Capote’s Black and White Ball, New York City, 1965.


Image result for marisa berenson barry lyndon

Misunderstood in Great Britain and the States at the time of its release, BARRY LYNDON (1975) has always been appreciated by Europeans as a work of great beauty, director Stanley Kubrick’s journey into a Visconti-like wonderland.

In the film, Lord Bullingdon is played by Leon Vitali, who quit acting to become Kubrick’s right-hand man. Vitali is the subject of Tony Zierra’s new documentary FILMWORKER.


BARRY LYNDON, Saturday, May 19, at 11 am.

FILMWORKER, through May 24.

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



FILMWORKER, May 25 through May 31.

LAEMMLE PLAYHOUSE, 673 East Colorado Boulevard, Pasadena.

LAEMMLE FINE ARTS, 8556 Wilshire Boulevard, Beverly Hills.


See: dazeddigital.com/why-barry-lyndon-is-stanley-kubricks-masterpiece

Above: Ryan O’Neal and Marisa Berenson in Barry Lyndon.

Below: Berenson.

Related image





“If the lights should go out, if the sound fails, I can still hold the audience. In the dark, without any trimmings. It’s a lonely place, but it’s a fascinating lonely place.” – Grace Jones

Jones is in her sixties and she can’t understand why everyone nowadays goes to bed so early. Party-goers in New York leaving an affair at 10:30? “They must be depressed.” Paris has turned into a quiet little town? “It’s terrible.” In GRACE JONES – BLOODLIGHT AND BAMI – directed by Sophie Fiennes and shot over several years around the world – she tells a young record spinner, “You’re a DJ, you don’t need sleep.”

Grace still lifts weights, drinks Champagne with breakfast if she feels like it, argues with recalcitrant producers and inept managers, keeps up with her family in Jamaica, and stops shows with “Pull Up to the Bumper” and “Love is the Drug.” (Stage design by the late Eiko Ishioka.) Expertly applying her own maquillage – a Richard Bernstein illustration come to life – and paying her own recording costs from the money she makes at gigs (“I hope the set isn’t too tacky…”), Grace has outlived, outworked, out-parlayed them all. Fiennes documentary – blissfully free of identifying titles and explanatory “wall cards” – is as liberated and liberating as its subject.



NUART THEATRE, through Thursday, April 26.


Opens Friday, April 27:

LAEMMLE PLAYHOUSE, 673 East Colorado Boulevard, Pasadena.


See: latimes.com/grace-jones-sophie-fiennes

Top and below: Grace Jones in Grace Jones: Bloodlight and Bami. Image credit: Kino Lorber.

Middle: Illustration by Richard Bernstein, October 1984. Image credit: Interview magazine.

Image result for grace jones hula hoop