The 2026 Los Angeles Times Festival of Books concluded over the weekend on the University of Southern California (USC) campus. The event attracted thousands of attendees who participated in a vast array of panel discussions, performances, and book sales pavilions under sunny Southern California weather.
Defining the Cinematic Identity of Los Angeles
A primary highlight of the festival was the “101 Best L.A. Movies” panel, featuring L.A. Times staffers Joshua Rothkopf, Amy Nicholson, Mark Olsen, and Glenn Whipp. The discussion stemmed from a contest involving 17 critics and authors tasked with identifying films that best exemplified the city.
The panel defined an “L.A. Film” as one that is either about Los Angeles or made within the city, though most selected films met both criteria. These selections typically focused on the city’s culture, history, crime, or vices.
The film Chinatown was selected as the number one movie on the list, recognized for its portrayal of the water wars and the story of William Mulholland. Other top-ranked films included Sunset Boulevard, Mulholland Drive, Blade Runner, and Clueless.
Some observers noted that the list heavily favored the movie industry’s portrayal of “starlets” and vice, while omitting early cinematic pioneers like D.W. Griffith, Mary Pickford, and Douglas Fairbanks. There was also a noted absence of 1950s sci-fi classics such as The War of the Worlds and Them.
Technical Artistry and Urban History
The festival also featured a deep dive into filmmaking with cinematographer Sir Roger Deakins, moderated by Joshua Rothkopf. Deakins, known for his work on Fargo, 1917, Blade Runner 2049, and No Country for Old Men, discussed his preference for operating the camera himself.
Deakins also promoted his new book, Reflections on Cinematography, which combines on-location stories with technical descriptions of original shots.
Beyond cinema, the event highlighted local history through author and historian Nathan Marsak. Marsak displayed his book, Bunker Hill Los Angeles: Essence of Sunshine and Noir, which explores the Angel’s Flight railway and the Bunker Hill neighborhood.
Civic Discourse and Logistical Challenges
The festival addressed serious sociopolitical issues during the “Not all that Glitters” panel, chaired by reporter Michael Hiltzik. Authors Brittany Friedman, Danny Goldberg, and Eric Lichtblau discussed the history of racism within the LAPD, specifically under chiefs Parker and Gates.
During this session, Friedman detailed the case of a doctor within the California prison system who performed experiments on prisoners without consequence.
Despite the intellectual success of the event, some attendees reported significant “price gouging” regarding logistics. Event parking was priced at $40, which is double the rate from the previous year, though parking within USC structures remained available at $25.
Future Outlook
Given the enthusiastic disagreement and “intellectual fervor” observed during the movie panels, future iterations of the festival could see expanded debates on the definition of regional cinema. There may be a push to include more diverse historical contributions, such as the city’s role in theoretical physics and medicine.
Attendees may also face continued volatility in event pricing, as current parking trends could indicate a new, higher baseline for downtown event rates.
Frequently Asked Questions
Which movie was ranked as the best Los Angeles film?
The panel chose Chinatown as the number one film, citing Jack Nicholson’s performance and the film’s allusion to the water wars.
Who is Sir Roger Deakins and what is his contribution to film?
Sir Roger Deakins is a celebrated cinematographer who determines lighting, lens choice, and camera movement. He has worked on films such as Fargo and 1917.
What were the parking costs reported at the event?
Event parking was priced at $40, while parking available in USC’s giant parking structures was $25.
Do you believe a city’s identity is better defined by its industrial achievements or its cultural representations in film?
