Miðasala er í gamla Austurbæjarbíó kl.14.30 alla daga. Miðaverðið er 600 kr.
Aðgöngupassi á allar myndir hátíðarinar hefur lækkað og er nú 2500 kr.

Það stendur til að endursýna öll verk Thom Andersen.

Reykjavík Shorts&Docs er það sönn ánægja að kynna heiðursgest hátíðarinnar í ár, Thom Andersen (f. 1943 í Chicago). Thom býr og starfar í Los Angeles sem kvikmyndagerð-armaður, kvikmyndagagnrýnandi og prófessor við kvikmyndadeild hins virta listaháskóla California Institute of the Arts.

Heimildarmyndir Thom Andersen eru afar mikils metnar. kvikmyndageiranum. Þar má meðal annars geta heimildarmyndarinnar Eadweard Muybridge, Zoopraxographer (1974), um samnefndan ljósmyndara sem er álitinn vera einn helsti brautryðjandi á sviði kvikmyndagerðarlistarinnar, Red Hollywood (1996) þar sem Andersen fjallar um áhrif McCarthyismans á kvikmyndagerð í Hollywood á fimmta og sjötta áratug síðustu aldar, og síðast en ekki síst hina stórfenglegu Los Angeles Plays Itself (2003). Myndin, sem fer enn sigurför um heiminn, er óður til kvikmyndalistar og byggingarlistar í kvikmyndaborginni rómuðu, en engin mynd hefur áður gert kvikmyndasögu Los Angeles jafn góð og skemmtileg skil.

Með sérhverri mynd hefur Thom endurskrifað kvikmyndasöguna
á einstaklega ítarlegan og fróðlegan hátt. Það er mikill fengur fyrir hátíðina og Íslendinga að fá Thom hingað til lands og ætti enginn sannur áhugamaður um kvikmyndir og kvikmyndasögu að láta þessar myndir fram hjá sér fara.

Í kjölfar sýninga á myndum Thoms verður efnt til pallborðs-umræðna í gamla Austurbæjarbíói sem auglýstar verða síðar.

Umsagnir um Los Angeles Plays Itself:
"Los Angeles may be the most photographed city in the world, but it has never been captured with such complex layers of meaning and fascination as in Thom Andersen's remarkable LOS ANGELES PLAYS ITSELF.This analysis of how the mega-burg is used and abused by the Hollywood fantasy machine, as well as his loving embrace of the city's nature and history, will become essential viewing for Angelenos and movie lovers worldwide and a must booking for cinematheques and specialty
houses." -- Variety

"A terrific cinematic essay!" -- The Hollywood Reporter

"The best piece of film criticism I've encountered lately isn't a book, newspaper, or magazine article. It's "Los Angeles Plays Itself," Thom Andersen's 169-minute documentary about how Los Angeles, "the most photographed city in the world," has been depicted in cinema. The kind of masterpiece that expands one's notions of what film can do, its closest peer is Jean-Luc Godard's "Histoire(s) du Cinema," a densely poetic and allusive work that's often been compared to James Joyce. Unlike "Histoire(s) du Cinema," it's quite accessible and paced better than the vast majority of action films.
Early on, Andersen's narration -- spoken by fellow filmmaker Encke King -- takes a swipe at the abbreviation of Los Angeles to "L.A.," which he finds implicitly contemptuous. Some may scoff or find this concern petty, but this caveat is crucial to the film's ethos. "Los Angeles Plays Itself" takes the unfashionable stance that cinema should have a direct, accurate relationship to reality. For Andersen, this is both an aesthetic and political position. Against a canon of "official" classics about Los Angeles -- "Chinatown," "Blade Runner," "L.A. Confidential" -- he celebrates films made by European "high tourists" and African-Americans.
"Los Angeles Plays Itself" is powered by a fierce ambivalence, a love/hate relationship with cinema. Its intermingling of cultural and social history is erudite but unpretentious. If many of the best recent documentaries -- "Bus 174," "Capturing the Friedmans," "Control Room" -- show how our reality is contaminated by media, "Los Angeles Plays Itself" tries to grab control back by searching for truth within the image overload. Despite its length, it's 
riveting viewing: lucid, funny, and inspiring. I haven't seen a better new film so far this year.” -- Indie Wire"A terrific cinematic essay!" -- The Hollywood Reporter

"The best piece of film criticism I've encountered lately isn't a book, newspaper, or magazine article. It's "Los Angeles Plays Itself," Thom Andersen's 169-minute documentary about how Los Angeles, "the most photographed city in the world," has been depicted in cinema. The kind of masterpiece that expands one's notions of what film can do, its closest peer is Jean-Luc Godard's "Histoire(s) du Cinema," a densely poetic and allusive work that's often been compared to James Joyce. Unlike "Histoire(s) du Cinema," it's quite accessible and paced better than the vast majority of action films.
Early on, Andersen's narration -- spoken by fellow filmmaker Encke King -- takes a swipe at the abbreviation of Los Angeles to "L.A.," which he finds implicitly contemptuous. Some may scoff or find this concern petty, but this caveat is crucial to the film's ethos. "Los Angeles Plays Itself" takes the unfashionable stance that cinema should have a direct, accurate relationship to reality. For Andersen, this is both an aesthetic and political position. Against a canon of "official" classics about Los Angeles -- "Chinatown," "Blade Runner," "L.A. Confidential" -- he celebrates films made by European "high tourists" and African-Americans.
"Los Angeles Plays Itself" is powered by a fierce ambivalence, a love/hate relationship with cinema. Its intermingling of cultural and social history is erudite but unpretentious. If many of the best recent documentaries -- "Bus 174," "Capturing the Friedmans," "Control Room" -- show how our reality is contaminated by media, "Los Angeles Plays Itself" tries to grab control back by searching for truth within the image overload. Despite its length, it's 
riveting viewing: lucid, funny, and inspiring. I haven't seen a better new film so far this year.” -- Indie Wire

Á Menningarnótt verður sérstök dagskrá í gluggum á Laugaveginum ásamt dagskrá í Hljómalind á Laugarveginum undir sjórn Þorkels Harðarsonar og verður hún auglýst síðar.