My week of culture in LA

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Al Pacino at the AARP Films for Grownups Film Festival, above. Elevator Repair Service, below. Photos by Iris Schneider.

It was a good week in LA for culture. The AFI Film Festival began in Hollywood on Thursday with lots of star power and free tickets to those willing to put in the time to visit and re-visit the AFI website and, tickets in hand, wait in line for a seat at the theater. Once inside, you can be treated to both major and independent films and often a talk afterward with the lead actor and/or director or screenwriter. Marion Cotillard spoke, along with the Dardenne brothers, after the screening of "Two Days, One Night." She described the rehearsal period and working with the very demanding brothers -- who sometimes asked for 70 takes -- as an extraordinary and exhilarating experience. The powerful but understated film about a working class mom seeking a way out of impending financial doom seemed so real that it felt like a documentary.

Downtown at LA Live, and somewhat under the radar, was the AARP Films for Grownups Film Festival. They had lots of stars willing to talk after the screenings, and unlike the AFI crowd, the people who asked questions at the AARP Festival were not beneath unmitigated adulation, simply asking to shake a hand or get a hug. Al Pacino, there to discuss his latest film, "The Humbling," was more than happy to oblige. The film, about an actor losing his craft, and fire, to the ravages of age, was riveting and his performance both tragic and comic, and totally without vanity as he shared the screen with a much younger Greta Gerwig.

arguendo-iris.jpgAnd then, back at the Redcat for just a weekend, Elevator Repair Service blew into town with "Arguendo," their raucous, and verbatim, look at the Supreme Court argument of Barnes v. Glen Theatre, brought by a group of strippers claiming that forcing them to wear pasties and g-strings violated their First Amendment rights. Just one word regarding Elevator Repair Service: go! Unfortunately only here for several performances over this weekend, they never fail to surprise and entertain while making you think and teaching you something at the same time. Like ERS director John Collins, I've always been curious about the goings-on inside the Supreme Court as arguments are presented. After this performance, I feel like I've been there -- minus a bit of artistic license of course. On a personal note: Thank you, ERS, for explaining the genesis of Chief Justice Rehnquist's gold-striped robe. I've always loved his bizarrely comic display of ego and personal pomp.

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