The Bleak Week film festival celebrates “cinema of despair” and originated as a response to calls for feel-good movies after the pandemic. The American Cinematheque, a nonprofit arts group curating for historic theaters in Los Angeles, chose to explore the opposite of popular demand. Bleak Week aligns with the city’s June Gloom, aiming to be the art house equivalent of Shark Week.

Grant Moninger, the artistic director, shared initial uncertainty about the festival’s reception. In 2022, he and Chris LeMaire crafted a lineup of austere films, including Elem Klimov’s anti-war ‘Come and See’ and Béla Tarr’s lengthy ‘Sátántangó.’ Film critic Katie Walsh, an early supporter, expressed enthusiasm and believed the concept would resonate well with audiences.

From Niche Experiment to Global Expansion

Five years later, Bleak Week has expanded internationally. Throughout June, 100 theaters in 73 cities across eight countries, including the United Kingdom, Canada, Puerto Rico, and Latin America, participate. In the United States, smaller cities like Columbia, Missouri, Plymouth, Massachusetts, and Albuquerque, New Mexico, also host versions of the festival.

Moninger explained that Bleak Week is a celebration of human experience, fostering empathy and understanding through cinema. Films like ‘Sátántangó,’ despite their length, often sell out. Notable attendees have included filmmakers and actors, contributing to the festival’s dynamic atmosphere.

Programming for a Diverse Audience

The fifth Bleak Week is underway in Los Angeles at venues such as the Egyptian Theatre and the Aero Theatre. Appearances include Isabelle Huppert with Q&As for ‘The Piano Teacher’ and ‘Heaven’s Gate,’ Ari Aster presenting his director’s cut of ‘Midsommar,’ and Denis Villeneuve discussing ‘Incendies.’ The concept of bleak cinema transcends genres, from wartime narratives to family-friendly options.

Local programmers select their films, resulting in over 300 films showcased globally this year. The Gene Siskel Film Center in Chicago highlights animation, while Argentina focuses on local films and an Aster retrospective. Vancouver’s Park Theatre selects films through local filmmakers and ‘friends of the venue,’ showcasing diverse perspectives.

Iconic Films and Thematic Consistency

Isao Takahata’s ‘Grave of the Fireflies’ is the most programmed film this year, depicting survival in post-World War II Japan. ‘Come and See’ is a staple, known as one of the bleakest experiences in film. The festival mandates narrative films, avoiding documentaries.

Moninger notes the triumph in transforming personal tragedy into art. In Los Angeles, the festival concludes with a light-hearted finish, showing the three ‘Paddington’ movies as a “marmalade chaser,” providing a sweet closure to the intense cinematic journey.