L.A.’s repertory cinemas endure through an age of streaming and Hollywood turmoil

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A small, blurry circle appeared in the upper-right corner of the screen at the Eagle Theater. The theater, which is run by the nonprofit Vidiots, was showing a film print of Paul Thomas Anderson’s movie, “The Master.”

Most people don’t notice it, but a subtle warning flashes on screen every ten minutes to remind the projectionist to switch to the next film reel.

The auditorium was completely full, and the audience applauded as the movie title appeared. There was a lot of excitement even before the lights dimmed, with people still hoping to get in. The person responsible for switching the film reels had a lot of pressure on them.

Michael Rousselet works as a projectionist at the Eagle Rock theater and relies on coffee to help him stay awake during late-night movies.

I was really struck by something the projectionist, Rousselet, said while giving us a tour. He joked that when everything runs smoothly, nobody even thinks about the people working behind the scenes – we’re invisible! But if something goes wrong? Suddenly, everyone notices us. It’s a funny way to put it, but it really highlights how crucial their work is.

Even after the pandemic forced many cinemas to close, repertory theaters – those known for offering unique and thoughtfully chosen movie experiences – are still struggling to attract audiences. The iconic Cinerama Dome and the nearby Arclight theater on Sunset Boulevard remain closed, despite many people wanting them to reopen.

A showing of the 2007 film “Michael Clayton” on Monday, presented by American Cinematheque using a traditional 35mm film print, was completely full. Despite declining overall movie ticket sales, independent cinemas are thriving by appealing to a dedicated audience.

This summer’s box office (from early May to Labor Day) brought in $3.67 billion in the U.S. and Canada. While close to last year’s numbers, this is considerably lower than the $4 billion typically earned before the pandemic. Surprisingly, even movies with popular stars are having trouble attracting audiences. For example, the new film “Americana,” starring rising star Sydney Sweeney, only made $500,000 during its opening weekend last month.

Maggie Mackay, head of Vidiots, believes that the special movie showings offered by Los Angeles repertory theaters are key to bringing new life to the film scene.

As a longtime film enthusiast, I completely agree with what Mackay recently told me. She believes – and I do too – that you can’t truly cultivate a love for movies through streaming alone. It’s not something you stumble into by passively watching on a single platform. Experiencing film is about more than just a few clicks; it needs to be a deeper, more active engagement.

Recent research from Art House Convergence in 2024 indicates that moviegoers are getting younger and more representative of different backgrounds. Additionally, Rich Daughtridge, head of the Independent Cinema Alliance, notes that a rise in broadly released films is benefiting independent cinemas.

While independent theaters haven’t fully recovered to pre-pandemic levels, attendance is steadily increasing, showing positive growth.

As a huge movie fan, I was really interested to hear that Netflix purchased the historic Egyptian Theatre from the American Cinematheque back in 2020. It’s great because the sale actually helped the Cinematheque expand! They’ve been able to do so much more – according to their artistic director, Grant Moninger, they went from hosting around 500 screenings a year to over 1,600, and welcomed a fantastic 350,000 movie lovers through their doors. It’s awesome to see a classic cinema thrive and reach so many people.

One reason people are increasingly choosing smaller, independent theaters over large multiplexes is the personal touch provided by the staff. At these theaters, a staff member usually asks the audience to put their phones away before the film begins, encouraging everyone to fully immerse themselves in the unique experience of watching a film print – complete with its small imperfections like scratches and dust, and its rich, original colors.

After a screening of “Michael Clayton,” podcast host Sean Fennessey observed that people are really craving connection and a sense of community. He believes many feel isolated by technology and are looking for ways to share experiences and feel closer to others.

He noted that Los Angeles is fortunate to have numerous wonderful places where people can connect, relax, and share experiences – whether it’s laughter, tears, or simply feeling moved.

Moviegoers in Los Angeles have plenty of choices, from mainstream blockbusters to smaller, independent films. Interestingly, independent cinemas have recovered more easily after the pandemic than other types of theaters, according to Art House Convergence.

The Vista Theater and the New Beverly are special because they show prints from Quentin Tarantino’s personal film collection – he stepped in to keep these historic theaters running. Their recent screenings of his film “Kill Bill: The Whole Bloody Affair” were so popular they quickly sold out, leading the Vista to announce another series of showings.

The American Cinematheque recently held a film festival featuring movies chosen by popular podcasters. The screenings were so popular, they sold out even on weekdays.

Vidiots recently held a sold-out screening of the 2012 film “The Master,” followed by a Q&A session with editor Leslie Jones, who worked on the movie. The audience was very engaged, with most people staying after the film to participate in the discussion.

Even though repertory theaters offer great programs, like showings of classic films by directors such as Akira Kurosawa, the current system isn’t fully sustainable given recent challenges for theaters. Groups like Vidiots and American Cinematheque continue to depend on donations and their nonprofit status to stay afloat.

These groups rely on contributions and membership fees to operate. According to Moninger, gaining access to industry professionals, actors, directors, and resources like film prints is also crucial for their survival.

We need to fill the theater with people. Simply stating that we’re a nonprofit isn’t enough to attract an audience, he explained.

Roger Durling, director of the Santa Barbara International Film Festival, believes there’s potential for the model to improve, as it’s not perfect yet.

The nonprofit recently bought a five-screen movie theater, called the Film Center, in downtown Santa Barbara. This is their second purchase of a five-screen theater, and they plan to use it to show films during the annual winter festival.

When not hosting film festivals, the organization will continue operating by showing a rotating selection of films throughout the year.

Because it’s a nonprofit, you can focus more on the art itself rather than worrying about profits, Durling explained.

But the thought is still on his mind.

“The more you concentrate on the artistic side of it, the money will take care of itself.”

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2025-09-21 13:31