Mark Olsen offers an in-depth look into the film world, bringing audiences the latest news on new releases and exciting events.
Wes Anderson’s new film, “The Phoenician Scheme,” premiered recently at the Cannes Film Festival and now opens in Los Angeles this weekend.
Fans of Anderson can expect an intriguing exploration of an idiosyncratic world, as is characteristic of his films.
Anderson has invited the audience into his unique worlds with his last few projects, rendering a layered storytelling approach in both “The French Dispatch” and “Asteroid City.”
“The Phoenician Scheme” promises further intricate narrative elements, centered on the ambitious international businessman, Anatole ‘Zsa-zsa’ Korda, portrayed by Benicio del Toro, and his estranged daughter, Liesl, played by Mia Threapleton.
The star-studded cast exemplifies Anderson’s trademark ensemble style, comprising actors like Michael Cera, Scarlett Johansson, and Tom Hanks, among others, ensuring viewers are treated to a dazzling display of talent.
Amy Nicholson’s review emphasizes that Anderson is keen on celebrating ambition through his perfectionist aesthetic, honoring artisans who create masterpieces amid a disposable world.
Nicholson remarks that while Anderson’s focus may have evolved from personal love stories to a deeper appreciation for craftsmanship, he still engages audiences by skillfully negotiating the participation of A-list talents for modest compensation.
She reflects, “The accomplishment itself is plenty,” signifying that while the film may have its quieter moments, the overall achievement speaks volumes to Anderson’s commitment to his craft.
In conjunction with the film’s premiere, the American Cinematheque is gearing up for its fourth edition of “Bleak Week: Cinema of Despair,” which begins this Sunday.
The festival has expanded beyond its Los Angeles roots to include screenings across several major cities, including New York and London, showcasing a diverse selection of films grounded in the theme of bleakness.
The inaugural screening at the Egyptian Theatre will feature Akira Kurosawa’s 1952 film “Ikiru,” introduced by Bill Hader, marking a noteworthy starting point for this year’s lineup.
French filmmaker Claire Denis will also present multiple titles alongside her, promising an enriching Q&A experience with discussions led by notable filmmakers like Barry Jenkins.
Brady Corbet and Mona Fastvold will participate in a tribute, screening films from their collaborative works along with Corbet’s individual directing credits.
The festival features a rich assortment of films, including Lars von Trier’s “Melancholia,” Michael Haneke’s “Funny Games,” and Carl Theodor Dreyer’s “Day of Wrath,” among others, reflecting the universality of challenging cinematic experiences.
Chris LeMaire, senior film programmer, shares insights on the growth of “Bleak Week,” highlighting how the festival has amassed an impressive collection this year alone, planning to unveil 55 films in Los Angeles.
The event will include a variety of screenings and guest appearances, such as the 35mm screening of Alan Arkin’s “Little Murders” with Elliott Gould in attendance for a Q&A.
Following this theme of recognition, the UCLA Film & Television Archive is set to host a celebration titled “‘Going My Own Way’ Celebrating Ivan Dixon,” paying homage to the actor and filmmaker.
This tribute will feature the local premiere of the 1973 film, “The Spook Who Sat by the Door,” which discusses revolutionary politics through the lens of the first Black CIA officer, a narrative rich with themes of freedom and empowerment.
The film’s significance is underscored by its controversial history during its original release, where it faced challenges related to its incendiary themes and politically charged content.
Accompanying the screenings will be the documentary “Infiltrating Hollywood: The Rise and Fall of ‘The Spook Who Sat by the Door,’” providing context for the film’s legacy and implications.
Additionally, a selection of Dixon’s works, including the film “Nothing but a Man,” which tackles racial tensions, will pay tribute to his multifaceted career.
Screenings happening over the weekend will feature appearances from Dixon’s family, bringing personal significance to the event as they honor his legacy in the city he once called home.
Moreover, a 35mm screening of Tony Gilroy’s “Michael Clayton” with the director present will fill audiences with anticipation, as the film was his debut as a director.
With George Clooney leading the narrative, the film has painted a vivid portrayal of a fixer in tense legal scenarios, delving into themes of morality and redemption.
The film’s critical acclaim, highlighted by its Academy Award nominations, reinforces its relevance within the spectrum of thought-provoking cinema.
On a lighter note, Sofia Coppola’s “The Virgin Suicides” will screen on Sunday, featuring a Q&A with the director and star Kirsten Dunst, marking the film’s significance in the context of female narratives.
The emotional depth presented in the film resonated well upon its release, showcasing Coppola’s talent in navigating complex emotional terrains.
In a complementary offering, the New Beverly will exhibit a double feature of “Frances Ha” and “Girlfriends,” two films that uniquely capture the essence of female friendships.
“Frances Ha,” a collaboration between Baumbach and Gerwig, encapsulates the trials of adulthood, while “Girlfriends” navigates the unraveling of a friendship against the backdrop of New York City.
As these screenings unfold, audiences are invited to engage with the narratives presented, basking in the richness of storytelling that permeates throughout cinema’s evolving landscape.
Mark Olsen’s guide to an array of captivating cinematic experiences offers audiences the chance to immerse themselves in an enlightening and entertaining exploration of film.
image source from：https://www.latimes.com/entertainment-arts/movies/newsletter/2025-05-30/bleak-week-ivan-dixon-spook-who-sat-by-the-door-virgin-suicides-michael-clayton-frances-ha-girlfriends-phoenician-sheme
