Aeromarqueeweb.jpg (17494 bytes)

American Cinematheque at the Aero Theatre Presents...
Movies on the Big Screen Since 1940!
1328 Montana Avenue at 14th Street in Santa Monica

What's this?

EgyptianSched.jpg (23003 bytes)

Click to print Page 1 or Page 2 or Full Text of an March 2008 Calendar!
Series programmed by: Gwen Deglise.

FBuy Button.gif (2343 bytes)

button_MailingList.gif (909 bytes)

Special Thanks to:


Connect with other film fans on:
myspacebanner_88x31_01.gif (1274 bytes)


SOLD OUT SCREENINGS: There will be a waiting line for Sold Out screenings. Tickets often become available at the door the night of an event.

Sold out programs will be indicated here if sold out 24 hours in advance of screening date.

All guests are subject to availability. The Cinematheque will offer a refund due to guest cancellations only IF the refund transaction is complete PRIOR to the start of the show.



Tickets are $9 general admission unless noted otherwise.
(Aero by series)
(Aero Film Calendar)
(Egyptian by series)
(Egyptian by date)
24-Hour Information: 323.466.FILM
Contact Us
The American Cinematheque is a non-profit 501 (C) (3) organization.
The Film Programs of the American Cinematheque are presented at the newly re-opened and renovated Aero Theatre at 1328 Montana Avenue in Santa Monica and at the magnificently renovated, historic 1922 Grauman's Hollywood Egyptian Theatre. Located at 6712 Hollywood Boulevard.
Photo Credit: Barry Gerber. Aero Theatre (c) 2004.

logosolidgoldbg.jpg (4989 bytes)
















<<< March & April 2008 >>>

Special One Night Events & Limited Engagements in March & April:


Discuss this series with other film fans on:




Wednesday, March 19 – 7:30 PM

Audrey Tautou Sneak preview:

PRICELESS (HORS DE PRIX), 2008, Samuel Goldwyn, 104 min. Jean (Gad Elmaleh), a shy young bartender, is mistaken for a millionaire by a beautiful, scheming opportunist named Irene (Audrey Tautou). When Irene discovers his true identity, she abandons him, only to find that a love-struck Jean has no intention of letting her get away. Jean’s comical attempts to gain her affections gradually evolve into setting himself up as a gigolo at a luxury hotel, until Irene finally starts to warm to her persistent, persuasive suitor. Against the wildly atmospheric backdrop of the French Riviera, Pierre Salvadori (APRÈS-VOUS) directs this sexy and thoroughly charming romantic comedy, which is a fresh reimagining of the cinema classic BREAKFAST AT TIFFANY’S.

AMELIE, 2001, Miramax, 120 min. Director Jean-Pierre Jeunet’s marvelous poetic fantasy about a wide-eyed young Parisian waitress (played by the sensational Audrey Tautou) who manages to influence the destinies of all who meet her. Filmmaker Mathieu Kassovitz (LA HAINE) co-stars as Amelie’s would-be boyfriend.



Tarzan_Jane_Regained.jpg (41936 bytes)

Sunday, April 13 – 3:00 PM


Co-presented with Los Angeles Art Weekend and C magazine.

Part of Los Angeles Art Weekend, a new visual art festival highlighting the city’s vast array of creative talent, this program is hosted by Kristine McKenna, widely published art critic and journalist for the Los Angeles Times, Artforum, The New York Times, Artnews, Vanity Fair, The Washington Post and Rolling Stone Magazine. Andy Warhol’s "Tarzan and Jane Regained...Sort of" (1963, Andy Warhol Museum) and other short films by artists will be shown.

Screenings include a clip from Andy Warhol's TARZAN AND JANE (5 min)  featuring brief appearances by artist Wallace Berman, Dennis Hopper, Claes Oldenburg, and John Altoon (a southern Calif. artist who died young and is revered by those who knew him). Andy Warhol's "Elvis at Ferus" (1967, 4 min); "Marcel Duchamp: A Game of Chess" (1963, 56 min) about his 1963 retrospective at the Pasadena Art. As well as "The Work" (2008, 47 min). Jackson Price and Bryan Law' s work in progress is a cohesive film featuring artists Ed Moses, Tony Berlant, Ken Price, Ed Ruscha, Chris Burden and Larry Bell.

Discussion to follow with Kristine McKenna and various artists to be announced.



Tuesday, April 15 – 7:30 PM

Sneak Preview!

DARK MATTER, 2007, First Independent Pictures, 90 min. The elegant feature film debut of renowned opera and theater director Chen Shi-Zheng delves into the world of Liu Xing (Chinese for "Shooting Star"), a Chinese science student pursuing a Ph.D. in the U.S. in the early 1990s. Driven by ambition, yet unable to navigate academic politics, Liu Xing (Liu Ye) is inexorably pushed to the margins of American life, until he loses his way, and things come to a violent head. With an ending reminiscent of BONNIE AND CLYDE or THE WILD BUNCH. With Aidan Quinn and Meryl Streep. Based on a real event. Sundance Film Festival Winner of the Alfred P. Sloan Prize for Best Feature Film. Official Website with trailers & more. Discussion following film with producer Janet Yang.




Wednesday, April 16 – 7:30 PM

Kevin Thomas’ Favorites:

THE SEARCHERS, 1956, Warner Bros., 119 min. John Ford's masterpiece, and one of the great American films of all time. John Wayne gives the performance of his career as Ethan Edwards, a deeply troubled Civil War veteran who heads off in search of his kidnapped niece (Natalie Wood) and becomes more obsessive and irrational as his journey progresses. Through Wayne's character, Ford explores the contradictions and dark side of the American frontier, in an elegiac tone that is as nostalgic as it is unrelentingly harsh. This classic inspired imagery and storylines in dozens of later landmark films, from TAXI DRIVER to STAR WARS. Film critic Kevin Thomas will introduce the screening.




Sunday, April 20 – 7:30 PM

Claude Lelouch In Person! Double Feature:

French filmmaker Claude Lelouch is a true renaissance man of cinema: a writer, director, actor, cinematographer and editor who has worked in documentaries, shorts and narrative features. He became known around the world for his 1966 Palme d'Or winner A MAN AND A WOMAN, and in subsequent films has continued to explore romantic relationships (as well as other topics including politics and crime) with great sensitivity. Join us for a screening of Lelouch, most famous masterpiece, as well as a sneak preview of his latest film.

Sneak Preview! ROMAN DE GARE, 2008, Samuel Goldwyn Films, 110 min. Best selling author Judith Ralitzer is researching unlikely places to find characters for her next bestseller. As luck would have it, a serial killer with a penchant for magic tricks has just escaped from a high-security prison, providing the perfect source material for an intricately plotted, moody mystery. Deceptively layered and intriguingly misleading, this highly anticipated new film from Oscar-winning director Claude Lelouch stars Dominique Pinon and Fanny Ardent as an unlikely pair caught up in a game with high stakes – and deadly consequences.

A MAN AND A WOMAN, 1966, Warner Bros., 103 min. This Oscar-winning love story is a model of simplicity and fluidity. A young widow meets a widower at the boarding school that both of their children attend. He is a race car driver. The scenery, race car sequences and score all serve to complement their friendship as it slowly emerges into a romance. Winner of the 1966 Cannes Film Festival. With Anouk Aimee, Jean-Louis Trintignant. Discussion in between films with director Claude Lelouch. In association with COLCOA, A week of French Film Premieres in Hollywood. Reduced ticket price for Cinematheque members to the screenings at the DGA.




Thursday, April 24 – 7:30 PM

Adam Rifkin In-Person! Double Feature:

THE DARK BACKWARD, 1991, New Line Cinema, 101 min. Dir. Adam Rifkin. Judd Nelson and Bill Paxton head up an eclectic cast (it also includes Rob Lowe, Wayne Newton, and James Caan) in this offbeat cult favorite. Nelson is Marty Malt, a garbage man who dreams of becoming the next Jay Leno; the only problem is, his very strange buddy (Paxton) is the only person who finds his jokes funny. When Marty grows an arm on his back, however, the new appendage works its way into his act and brings him a strange sort of comic success.

DETROIT ROCK CITY, 1999, New Line Cinema, 95 min. Adam Rifkin pays tribute to the teenage love of rock and roll in this ode to Kiss, the 1970's, and ROCK AND ROLL HIGH SCHOOL. Edward Furlong heads up a group of four boys who get more and more desperate to see their favorite band in concert every time someone or something tries to stop them. As they attempt to get to a Kiss show, they undergo various rites of passage, all to the tune of a killer rock soundtrack. Discussion in between films with director Adam Rifkin and Bill Paxton.



Friday, April 25 – 7:30 PM

Double Feature:

CADDYSHACK, 1980, Warner Bros., 98 min. Harold Ramis's directorial debut (hot on the heels of his work as a co-writer on ANIMAL HOUSE) is a hilarious assault on the establishment. Michael O'Keefe plays a teenage caddy at a snooty country club who is faced with a number of difficult choices as he heads into adulthood. Unfortunately for him, but fortunately for the audience, his father figures on the golf course are Rodney Dangerfield, Chevy Chase, Ted Knight, and Bill Murray--a motley crew of comedy icons who give this classic more laughs per minute than any film this side of DUCK SOUP.

New 35mm Print!

GROUNDHOG DAY, 1993, Sony Repertory, 101 min. Self-absorbed, egocentric weatherman Bill Murray gets caught in a freakish time loop where he is doomed to repeat the same day (Groundhog Day) over and over again until he gets things right. Director Harold Ramis achieves that impossibly rare thing in cinema – an existential comedy about karma and spiritual and emotional growth that is both extremely funny and intelligent, and resonates with a wide mainstream audience. With Andy McDowell, Chris Elliot.



Saturday, April 26 – 7:30 PM

Double Feature:

BACK TO THE FUTURE, 1985, Universal, 117 min. Director Robert Zemeckis provides a pitch-perfect combination of sharp satire and warm sentiment in this ingenious time travel comedy. Michael J. Fox plays a teenager whose mentor (a manic and brilliant Christopher Lloyd) invents a time machine that takes the kid back to the 1950's. When he inadvertently gets in the way of his teenage parents' relationship (and causes his future mother to develop a crush on him!), Fox has to figure out how to get them back together to insure his own eventual existence. Funny, touching, and suspenseful, this love letter to American pop culture is one of the most entertaining films of the 1980's.
BACK TO THE FUTURE PART II, 1989, Universal, 108 min. Rather than rest on their laurels, Robert Zemeckis and writing partner Bob Gale completely reinvented the BACK TO THE FUTURE franchise with this audacious follow-up. In a bit of experimentation worthy of the French New Wave, Michael J. Fox and Christopher Lloyd return for a sequel that spends most of its running time not before or after the original story but at the same time. As series of complex time travel complications send hero Marty McFly and partner Doc Brown back to the 1955 of the first film, after a mishap in 2015 generates a parallel universe. Even more elaborately plotted than the original, this highly ambitious sequel allows Zemeckis even more opportunities for witty satire and cutting-edge special effects. Discussion between films with cinematographer Dean Cundey (Parts I-III) & production designer Rick Carter (Part II)  - Eric Lichtenfeld will moderate the discussion.



Sunday, April 27 – 5:30 PM

Art Director Series: Tribute to Wiard Ihnen.

*Note: our calendar accidentally went to print with the wrong showtime. The showtime listed here is the correct one.

Born in 1897 in New Jersey, Wiard Ihnen studied architecture at Columbia, Paris Ecole des Beaux Arts and under his father, Henry S. Ihnen. Wiard designed manor houses in New Jersey and Pelham Manor in NY. He entered into films in 1919. Wiard married Edith Head, the industry’s top costume designer whom he met while they both were working on Cradle Song; both have assembled an impressive array of Academy Awards. Ihnen has designed and built set s for Goulding, Preminger, Dupont, Lang, Leisen, Hathaway, McCarey, Ford, Mamoulian, Lubitsch, Walsh King, Dorothy Arzner, Cromwell, Von Sternberg and a dozen other directors of note. His is a staggering list of major credits on important and beautifully designed films including If I HAD A MILLION (1932), SHANGHAI EXPRESS (1932, DUCK SOUP (1933), STAGECOACH (1939), TOMORROW IS FOREVER (1946), KISS TOMORROW GOODBYE (1950), ONLY THE VALIANT (1951), THE INDIAN FIGHTER (1955).

BLONDE VENUS, 1932, Universal, 93 min. Dir. Josef Von Sternberg. Marlene Dietrich is Helen, a former nightclub entertainer married to scientist Herbert Marshall. Their idyllic family life is shattered when he becomes disabled and she must return to the stage to support him and their son (Dickie Moore). Enter millionaire Cary Grant, a man who will lavish any amount of money on what (or who) he wants. Dietrich is luminously hypnotic here, whether swimming nude or singing "Hot Voodoo" in a gorilla suit! One of the best of the Von Sternberg/Dietrich collaborations, milking every bit of charisma from its two gorgeous stars and miraculously steering the high-voltage melodramatics into poignant revelation by the last frame. "The Paris cabaret in Blonde Venus, A bizarre collaboration between Sternberg and designer Wiard Ihnen... the baroque extravagance of her(Marlene Dietrich’s) number... a figure in glittering white tailcoat reviewing with Lesbian arrogance a group of veiled beauties, strolling as she sings among leaning gothic arches, crouching monsters and nude female torsos." – John Baxter, The Cinema of Josef von Sternberg. Discussion following with production designers Bob Boyle, J. Michael Riva and other guests. A clip show featuring the work of Wiard Ihnen will precede the film.