Bleak Week: Embracing the Art of Cinematic Despair

Bleak Week is a film festival that celebrates the “cinema of despair,” born as a counteraction to the demand for lighthearted films after the pandemic. Organized by the American Cinematheque, a nonprofit arts organization that curates events for historical theaters in Los Angeles, the event was conceived as an antithesis to the calls for comedies. They intended to coincide with the city’s usual June Gloom, likening it to a cultural counterpart of Shark Week.

Grant Moninger, the artistic director of the group, expressed uncertainty about its reception. “We didn’t know how people would react,” he remarked. Despite the potential for an adverse reaction, they embraced the challenge. In 2022, he and Chris LeMaire curated a selection of some of the most somber films in global cinema. Offerings ranged from Elem Klimov’s anti-war masterpiece “Come and See” to Béla Tarr’s extensive “Sátántangó.” Film critic Katie Walsh, based in LA, recalls supporting the festival early on, likening it to the viral “sickos” meme in anticipation of its impact.

Global Reach and Expanding Influence

Five years after its inception, Bleak Week has gained international traction. Events are scheduled across 100 theaters in 73 cities, including locations in the United Kingdom, Canada, Puerto Rico, and Latin America. In the United States, the festival extends beyond major cities to include places like Columbia, Missouri, and Brodline, Massachusetts.

Although often perceived as gloomy, Moninger points out that Bleak Week celebrates the human experience through cinema, focusing on empathy and understanding. “Sátántangó” screenings, despite their length of 7.5 hours, frequently sell out. The festival has drawn celebrities to its events, such as Sean Baker and Mikey Madison, and even attracted Hungarian director Béla Tarr, who had vowed never to return to the U.S., to make an appearance in its second year.

Diverse Film Selections

The fifth edition is taking place in Los Angeles at venues like the Egyptian Theatre and the Aero Theatre. It features appearances by acclaimed personalities such as Isabelle Huppert, Ari Aster, and Denis Villeneuve. A notable aspect is the festival’s openness to various interpretations of bleak cinema—ranging from war dramas to family-friendly films. Local program coordinators are empowered to curate selections that resonate with their audiences.

This year, over 300 films are being shown internationally. Chicago’s Gene Siskel Film Center focuses on animation with films like “Princess Mononoke” and “Watership Down.” In Argentina, attendees can enjoy both local films and a retrospective of Aster’s works. At Vancouver’s Park Theatre, local figures including Finn Wolfhard and Samantha Quan curated selections.

The most screened film at this year’s festival is Isao Takahata’s “Grave of the Fireflies,” a tale of survival in post-World War II Japan. A staple at Bleak Week, “Come and See” is consistently featured due to its distinctly bleak narrative.

The Essence of Bleak Week

The festival embraces fictional narratives, with a clear exception: documentaries are not permitted. Moninger states, “There is triumph in turning adverse experiences into art.” This perspective reflects the festival’s unique approach to film selection.

Once a string of somber films concludes, particularly in Los Angeles, organizers soften the impact with a sweeter note by screening the “Paddington” trilogy, humorously referred to as a “marmalade chaser.”