Misery Loves Company? Bleak Week: Cinema of Despair Hits a Nerve.

The festival Bleak Week: Cinema of Despair started three years ago as a primal scream from a little Los Angeles nonprofit organization.

What has happened since says a lot about the mood in at least one corner of American culture.

The American Cinematheque, a nonprofit that brings classic art films to Los Angeles theaters, was struggling to sell tickets in 2022. Older cinephiles were still spooked by the Covid pandemic; younger ones were glued to Netflix.

At the same time, some Cinematheque staff members were depressed about the direction the world seemed to be heading. It was the year Russia invaded Ukraine, the Supreme Court overturned Roe v. Wade, a gunman killed 19 children at a Texas elementary school and Big Tech rolled out artificial intelligence bots.

Out of that somber stew came a programming idea called Bleak Week: Cinema of Despair. Over seven days, the Cinematheque screened 30 feel-bad movies. It called the selections “the greatest films from around the world that explore the darkest sides of humanity.” For the inaugural festival, one centerpiece film was Béla Tarr’s “Satantango” (1994), a seven-hour-and-19-minute contemplation of decay and misery.

“‘Everyone was saying, ‘You should do comedies,’” Grant Moninger, the Cinematheque’s artistic director, said. “But we thought, ‘What if you did the exact opposite?’ We’re not in this to dangle keys at a baby.” (Now might be a good moment to mention that Moninger grew up with a mother, he said, who “only rented movies on VHS in two genres: the Holocaust and slavery.”)