For the past twenty years, this Geneva-based photographer and filmmaker has been capturing these temples of cinema around the world, bearing witness to their past and present beauties, which he invites us to (re)discover. An interview.
As many legendary cinemas increasingly close their doors, Simon Edelstein brings these architectural gems back to life. This seasoned photographer, originally from Geneva, has tirelessly traveled the roads in search of this exceptional heritage that is gradually disappearing from the landscape. In France alone, some fifteen major cinemas have recently closed, such as the UGC George V (2020), the Gaumont Marignan (2023), and the UGC Normandie (2024), true symbols of the multiplex era. In Hollywood, the heartbreak is just as profound, with the closure of the iconic Cinerama Dome (2020), among others.
There are, however, some good news. For example, the La Clef cinema is expected to reopen in Paris in 2025, the Vista Theatre in Los Angeles was bought by Quentin Tarantino (2021), and the Egyptian Theatre was acquired by Netflix (2020), following the Paris Theater in New York (2019). "There's a small distinction that people need to understand."explains Simon Edelstein, adding: "When the platform buys theaters, it's often for contractual reasons, even if it prevents their destruction. For its films to be eligible for awards, they first need to be released in a few theaters. It's not philanthropy, it's marketing."
From the beauty of yesteryear to evanescence
The man, who celebrated his 82nd birthday on March 26th, has thus published two beautiful books on these marvels of the seventh art: The twilight of cinemas et Cinemas, a French heritage (Jonglez Publishing, 2020 and 2023). Both trace the history of old and abandoned monuments, of neighborhood cinemas that have disappeared or resisted (the Kinopanorama, the Palace whose facade was used for Eddy Mitchell's "La dernière séance"), of superbly restored palaces (Le Louxor, La Pagode), not forgetting the more contemporary, equally spectacular venues.
Next autumn, a third book will be added to this precious collection, The deadly beauty of Indian cinemas (Published by Jonglez). From France to the United States, by way of Italy, Cuba, and India, it took Simon Edelstein more than two decades to photograph these nostalgic performance venues in the heart of cities and the countryside. This passion is hardly surprising. This lover of structures and film has a long career in the industry, from the small screen to the big screen. He has directed documentaries for Swiss Romande television, feature films, and has worked as a cinematographer.
“I’ve always traveled and I’ve always loved cinema. But I paid little attention to the exteriors; only the films interested me. It was when I went back to the theaters that I realized some of them no longer existed. That’s when I started to look at them. They had been destroyed with the indifference of the authorities and replaced by abominably ugly buildings. We thus went from the deadly beauty of cinemas to ugliness for all eternity. At the time, theaters had to be beautiful to attract audiences. This allowed architects to imagine magnificent and extravagant places.”
Tested by modernity
For Simon Edelstein, it is therefore a "work of memory". India, the United States and Great Britain leave "traces of the beauty of the halls", by his own admission. “In Mumbai, Art Deco architecture still survives. Just as in Los Angeles, large theaters have been preserved. The emotion of cinema is linked to others and to the sheer scale of the space. When you enter a 3,000-seat venue, everything takes on such grandeur amidst the crowd. It transcends emotion. France remains magnificent for film lovers, as it accounts for a third of all admissions in the European Community. There is a tradition and a strong commitment to restoring, renovating, and reinventing cinemas, with all sorts of events like the Fête du Cinéma (Cinema Festival). But the buildings constructed no longer bear any resemblance to the architecture of yesteryear. It's a formal and neutral beauty.”
Since the advent of digital technology, from technological advancements to the end of the pandemic, viewers' habits have constantly evolved, allowing the touchscreens of streaming platforms to invade their daily lives. This is a sad state of affairs, to the detriment of fine cinematic techniques and immersive formats (IMAX, 3D, 4DX, ScreenX, Dolby Cinema, LED). Yet, this pattern is repeating itself, reminiscent of the explosion of widescreen formats in the mid-20th century.e century (CinemaScope, 70mm, VistaVision, Cinerama, Drive-in) to compete with the arrival of television in homes.
Through Simon Edelstein's lens, the magic of cinemas continues to work its wonders, immortalizing "the beautiful archaeology of their worn facades, their entrances and their vast rooms of drifting ships." A play between time, splendor, scars, oblivion, and resilience. An architectural golden age where dreams continue to live and imaginations to converse. All the more so since the Grand Rex was voted the most beautiful cinema in the world this year by Time-out out of fifty selected rooms.
Publications by Simon Edelstein:
The deadly beauty of Indian cinemas
Jonglez Publishing, Autumn 2025
Cinemas, a French heritage
Jonglez Publishing, 2023
The twilight of cinemas
Jonglez Publishing, 2020
