CRUCIAL VIEWING
Susan Sontag's PROMISED LANDS (Documentary
Revival)
Doc Films (University of Chicago)
- Friday, 7, 9, and 11pm and Sunday, 1pm
Not surprisingly, Susan Sontag's only
documentary (she also made three narratives) is best termed an essay
film. What may be surprising is the sensitivity to image and sound that
PROMISED LANDS displays. But, while Sontag's professional life was bound
up in words, she exhibited a greater and farther ranging love of all
arts than many writers do; and she particularly loved films. And not
the easy ones: Bela Tarr's SATANTANGO, for example, or the work of Alexandr
Sokurov, who she said was "most ambitious and original serious filmmaker
of his generation working anywhere in the world today." Sontag's admiration
for Sokurov is not hard to understand after seeing PROMISED LANDS. Her
film is, in many ways, a war documentary--it was filmed in the final
days of and immediately after the 1973 Yom Kippur War; and, directly
and indirectly, Sokurov is perhaps the greatest film poet of depicting
war. Both Sontag's film and much of Sokurov's work is suffused in a
soft, scattered, hazy light--the harsh sunlight of Israel gives LANDS
an eerie, almost otherworldly mood. It would make a remarkable pairing
with Sokurov's magnificent ALEXANDRA. But the real power of the film
lies in Sontag's eye for details (contrasting rooftop religious iconography
with television aerials; close-ups of the weathered boots of desiccated
war dead) and faces (a young Hassidic child; elderly Arab men) and the
almost music concrete of her soundtrack, which shifts between ambient
street noise, her interview subjects voices, radio static, and a wide
variety of music. Visually and aurally, Sontag seems to be searching,
trying to make sense and find answers. Her approach is unexpectedly
nuanced--not the hard political work one might think. She plays more
the ethnographer/observer conducting field research than the activist/intellectual.
If there is a message, it's an anti-war one; a long sequence near the
end of the film wanders into Frederick Wiseman territory as Sontag records
a psychiatric therapy session for an ex-soldier which re-creates the
sounds of the battlefield; cut to a training range, with silhouetted
cut-outs of soldiers arrayed around real tanks and other war machinery;
then an image of a moving tank as it rolls out of frame; the empty screen,
only the tread-marks in the sand, freeze-frames as a mournful wailing
plays over the static image. (1974, 87 min, BetaSP Video) PF
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More info at www.docfilms.uchicago.edu.
Nobuhiko Obayashi's HOUSE (Japanese
Revival/Cult)
Gene Siskel Film Center - Check venue
website for showtimes
It's a film like HOUSE, a film so manic, so bewildering and so singular,
that makes one become obsessed with its genesis. The film's abrupt stylistic
shifts and bizarre visual effects fill one's mind with but one question: "who the hell made this movie?" It would surprise no one
then to learn that Nobuhiko Obayashi was an experimental filmmaker--nor
would it surprise anyone that he made TV ads--previous to HOUSE. What
is surprising is that his forays into experimental films were that of
the lyrical psychodrama, more akin to Gregory Markopoulos than, say,
Pat O'Neill (see WATER AND POWER below). CONFESSION (1968) is Obayashi's
most visually complex experimental work, and even that only uses creative
editing between shots and the occasional unorthodox camera angle. HOUSE's
genius lies in its veritable catalogue of optical effects, displaying
a virtuosity previously unseen from its maker. And yet, the film is
more than just a sum of its traveling matte parts. True, its paper-thin
plot does serve only to move from one novel death to the next, but this
is the essence of all horror films. Like some giddy, crazed, superior
version of THE ABOMINABLE DR PHIBES (1971), HOUSE provides a fat-trimmed
index of inventive ways to die, all with tongue placed firmly in cheek.
(1977, 88 min, 35mm) DM
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See Obayashi's short films here.
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More info at www.siskelfilmcenter.org.
James Benning's RR (New Experimental)
Doc Films - Saturday, 7 and 9:30pm and
Sunday, 3:15pm
The landscape work of James Benning is arresting in its contemplative
manner and focus. What has defined these works up until now has been
their stillness, their protracted pace, drawing attention to the act
of spending time with a portrait. With RR, Benning breaks from
work like TEN SKIES (2004) and 13 LAKES (2004) by making conspicuous
the framing of his shots in addition to the multitude of freight trains
rolling by. Each shot is constructed much like his previous landscape
films--one continuous take, framed just so, lasting a set duration of
time. For RR, that set duration is the length of time it takes for a
train to move from one end of the frame to the other. Benning, the masterful
photographer that he is, uses this opportunity to create then subvert
an otherwise clear pattern. What starts out as an observation of locomotives
from across the country gently rolling past the screen, slowly and surprisingly
turns into an adventure involving the creation and subsequent collapsing
of filmic space. One can never be sure where the next train will appear--or
reappear. This careful consideration and execution of filmic space is
made all the more significant by the fact that RR is apparently Benning's "last" film--he plans to stop photographing in 16mm and instead
make the switch to digital video. (2008, 120 min, 16mm) DM
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More info at www.docfilms.uchicago.edu.
Patrick Alessandrin's DISTRICT 13:
ULTIMATUM (New International)
Music Box - Friday and Saturday, Midnight
When the original DISTRICT B:13 arrived in the States in 2005, it
was billed as "the parkour movie," a chance to experience French
freestyle-walking in a loose narrative frame. It was screen written
and produced by Luc Besson though, so le parkour was only one
of a thousand tricks to keep you stunned and giggling through a mash-up
of action movie tropes. The sequel does you a favor by tossing out many
of the heavier contrivances and focusing instead on giddiness, anarchy,
and a romantic bonhomie between the two gymnastic heroes, Leito (David
Belle) and Damien (Cyril Raffaelli). The aesthetic is sunlit CHILDREN
OF MEN, established in a swooping, acrobatic five-minute introductory
tour of the district, where minor warlords in various national costumes
mingle with extras from MIA videos, and barnyard animals share the road
with armored vehicles. Between the delirious assault of arch cliché
and winking stereotype, the inspired "how-things-work" assembly-line
pans, and all the ass-kicking ballet, the frantic cuts don't give you
much time to understand how cool what you just saw was. The moments
of peace are brief, as when Leito and Damien play catch up lying side
by side in the heating duct of a municipal prison. But the movie tells
you right up front that it's enjoying itself: the camera continues to
leer at a stripper's gyrating ass well after it's been revealed the
"she's" our hero in disguise. And later, when he's locked out of
his apartment and he has to climb in through the window, you don't see
until the next morning that he lives on the fifth or sixth floor. This
subtle playfulness doesn't mean there's anything subtle about the whole
package, least of all the political message, but by the time you arrive
at this message every dial on your console has been tweaked so hard
you barely remember what the problem was, let alone how it might be
solved ethically. And if you succeeded in keeping track and find the
resolution appalling, just wait through the first song in the credits
for the joke to land on you. (35mm, 96 min, 2009) JF
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More info at www.musicboxtheatre.com.
ALSO RECOMMENDED
Films by Christopher Maclaine (Experimental
Revival)
Doc Films (University of Chicago) - Tuesday, 7pm
No one is better suited to introduce you to the films of Christopher
Maclaine than Fred Camper. This Tuesday, Doc Films will be providing
you an opportunity for just that sort of introduction, and you'd be
foolish to miss it. Camper, the critic who bicycles to every screening
even in the heaviest snow or rain, is a man of intense focus, the sort
of person who'll go not only to great lengths for something he loves,
but will subject that love to an intense scrutiny. Even if someone loves
Maclaine's films more than Camper does, no one has thought more about
them or worked harder to figure out a way to explain what he has seen
in them. Maclaine, nervy and addicted to methamphetamine, died in a
mental institution 35 years ago. His complete filmography adds up to
a little over an hour. But in those four films, made immodestly with
the most modest of means, there's a lot to see and hear, to be terrified
of, to be worried by, to laugh with and to feel laughed at by. For with
THE END, Maclaine made an "avant-garde" film whose complexity
could eclipse a big-budget feature. It's a film of apocalypses--personal
and universal, human and artistic--made as though Maclaine was following
his own narration: "our little friend could not face the 20th century,
so he went running, only there was no place he could run to." Nowhere
to go, but that doesn't mean you shouldn't be sprinting. Shot by Jordan
Belson (who also shot parts of THE MAN WHO INVENTED GOLD before, as
Camper reports, giving up on working with the combative Maclaine), THE
END (ironically) provides a beginning for experimental film few filmmakers
would dare to follow. Also on the program are the much shorter BEAT
and SCOTCH HOP, which takes Maclaine's inexplicable fascination with
bagpipe music to its inevitable conclusion. Introduced by Fred Camper.
(1953-59, 61 min total, 16mm) IV
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Visit Fred Camper's website to view
his art and writings, including a review on Maclaine, here.
www.fredcamper.com.
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More info at www.docfilms.uchicago.edu.
Pat O'Neill's WATER AND POWER (Experimental
Revival)
Experimental Film Society (SAIC,
112 S Michigan Ave, Rm. 1307) - Tuesday, 4:30pm
In early films like 1967's 7362 or
1971's RUNS GOOD Pat O'Neill used an Optical Printer and sophisticated
matting effects to play, as if he was crafting short sonnet-films. By
1989 he outgrew the trickster's humor of special effects and gave us
his first bit of epic poetry with WATER AND POWER. An ode to the city
of Los Angeles, layered images juxtapose facets the multi-ethnic metropolis
that sprouted from the desert in Southern California to become a Mecca
for the American Dream, and a synonym for traffic jams and capitalist
excess. Found footage is mixed with time-lapse shots and staged sequences.
We move from city to desert, and back again along the pipelines that
bring water to the thirsty machine. He wants to show us the energy of
his city and how the parts contribute to the whole, but as the New York
Times said when the film was released, "Mr. O'Neill's major concern
is the power of film to redefine and control all images, even natural
ones." Reductionism would never befit an artistic exploration of any
urban area, and O'Neill's complexity as a filmmaker seeks to touch on
the range of surprises that make LA unique, as a story and an experiment.
(1989, 54 min, 16mm) JH
Karin Albou's THE WEDDING SONG (New
French/Tunisian)
Gene Siskel Film Center - Check venue website for showtimes
Karin Albou captures human flesh like few other filmmakers, in close-up
studies of texture neither prurient nor artistically detached. These
shots would be less impressive, though, if Albou didn't elicit such
consistently natural behavior from her cast: Her approach to character
begins with small, ineffable detail and stems outward. When her second
feature, THE WEDDING SONG, concerns itself with intimacy--particularly
the close friendship between high-school-aged girls--the results are
thoroughly compelling, worthy entries in the sensation-based French
cinema of Claire Denis and Patrice Chereau. Albou also shares with those
filmmakers a healthy aversion to exoticism, focusing instead on the
everyday aspects of unfamiliar lives. THE WEDDING SONG is set in 1940s
Tunis, a French-occupied city as diverse and as religiously tolerant
as Cairo: It's telling of Albou's perspective that she illustrates such
tolerance with leisurely scenes of Jewish and Muslim women enjoying
the local hammam (traditional sauna) together. After such accomplished
moments, alas, Albou ends up telling a story of Friendship Tested By
The Forces Of History. It was hard for Jews and Muslims to be friends,
we learn, once the Nazis invaded northern Africa. In the wake of INGLOURIOUS
BASTERDS, nearly every dramatization of World War II politics seems
false, and THE WEDDING SONG is no exception. Myriam (Lizzie Brochere)
and Nour (Olympe Borval) undergo great suffering and sacrifice, grow
up too quickly, etc., most notably when vintage radio broadcasts are
playing to remind us what year it is. Yet whenever they manage a few
moments of secrecy, the historical context fades and a timeless feeling
of camaraderie takes over. This reflects less the strength of Albou's
theme than her images. One should note, too, the prodigal talents of
her two leads, who never seem to be acting out an earlier age of girlhood.
(2008, 97 min, 35mm) BS
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More info at www.siskelfilmcenter.org.
Gerardo Naranjo's
I'M GONNA EXPLODE (New Mexican)
Block Cinema (Northwestern University)
- Friday, 8pm
The disaffected teenager seems to be
an enduring trope; from Romeo and Juliet to Catcher in the
Rye, from REBEL WITHOUT A CAUSE to HEATHERS, the star-crossed lovers,
the misunderstood loner, the stoner, the goth, the wallflower, and the
rest (everyone?) have been a fascination for writers and filmmakers
all along. To the point of cliché, most times. Luckily, Gerardo Naranjo's
I'M GONNA EXPLODE mines this fraught territory with a fresh eye and
a willingness to allow for a level of complexity. At least as far as
the Romeo and Juliet leaning lead characters go; the parents
and other adults don't benefit from the depth allowed to Román and
Maru. Engagingly played by newcomers Juan Pablo de Santiago and Maria
Deschamps, the two troubled teens display a range of emotion and a subtle,
confused sense of what to make of their new found "freedom." The
two meet at school, where Román has just transferred. He introduces
himself to the gathered students and faculty at an assembly by way of
a mock suicide. Soon after, he and Maru run away but hide unexpectedly
close to home. As they navigate their new domestic situation, they find
that the emotional complications and the difficulties of relationships
that they are trying to flee are not that easy to escape. Naranjo moves
freely through differing tones--from the comic to the disturbing--often
so effortlessly that one is suddenly caught by surprise. It is this
constant shifting--of tone, of narrative, of point-of-view, of emotional
register--that keeps EXPLODE from falling into the generic-teen-angst-formula:
it's funny, endearing, and charming; vexing, frustrating, and shocking.
Also showing is Rebecca Johnson's UK short TOP GIRL. (2008, 106 min,
35mm) PF
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More info at www.blockmuseum.northwestern.edu.
Fritz Lang's CLASH BY NIGHT (American
Revival)
Music Box - Saturday and Sunday, 11:30am
A meeting of giants--director Fritz Lang, playwright Clifford Odets,
and stars Robert Ryan and Barbara Stanwyck--results in something less
than the sum of its parts, though fans of any of the participants should
not be disappointed. This film version of Odets' 1941 play retains a
lot of the author's mannered dialogue and the script's highly theatrical
structure, which divides the action into two periods separated by a
year; of all the touched-up Broadway adaptations of the 1950s, it has
some of the most integrity. The first act depicts the return of Stanwyck's
character to the small coastal town she left ten years before. After
resigning herself to a life without possibilities (a recurring theme
in Odets), she marries sad sack fisherman Paul Douglas. The second act
follows her inevitable disenchantment, manifested in an affair with
the misogynistic gadabout played by Ryan. The script was first produced
at the tail end of Odets' peak creative period; despite switching focus
from urban to small-town characters (and to relatively apolitical subject
matter), many of the dramatic ideas were recycled from the more successful
Awake and Sing! and Rocket to the Moon. The metaphor-rich
language is still inspired in spots, but the film fails to take full
advantage of it. Perhaps doing his best Elia Kazan imitation, Lang's
direction of actors is uncharacteristically tony and the mise-en-scene
relatively centered: Oddly, Robert Aldrich's frenzied adaptation of
THE BIG KNIFE (1955) manages to feel more like Odets and Lang. CLASH
BY NIGHT may be a mismatch of director and material, but it's the instructive
sort of mistake that was regularly afforded by the Studio System. Lang
delineates the themes with unflagging intelligence even when he fails
to make them register emotionally, and the cast coheres around the dialogue
brilliantly. (1952, 105 min, 35mm) BS
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More info at www.musicboxtheatre.com.
Philipp Stölzl's NORTH FACE (New
German)
Music Box
- Check venue website for showtimes
Rarely on Cine-File do we cover a film
that feels like a Clint Eastwood sports epic (unless it is a
Clint Eastwood sports epic, viz. INVICTUS), but in this case the film
is a 2008 German release that has received little to no attention in
the States. Part adventure-epic, part journalist drama, and part love
story, it's all wonderfully shot blowing snow and foreboding rock crags
that echo the bergfilmes of the '30's. Set in 1936, when everyone wanted
to be the first to summit the north face of Switzerland's "the Eiger"--the
last great unsolved problem of the Alps. Teams from Germany, Austria,
Italy, and France were all competing to prove their superiority as mountaineers
and as a nation. And unlike other challenges of human endurance, this
one had a hotel with a lookout balcony and a cog railway through the
interior of the mountain (that still boasts the highest station in Europe)
that made this dangerous game of bravado into a spectator sport. What
makes this story of two unsuccessful German climbers and the journalist
who covered them worthwhile is the attention to detail that captures
the climbing experience in sight and sound. The camera dangles on a
rope next to the climbers, and at times we can barely hear their dialogue
over the howling wind. The story becomes secondary after the first hour,
as we already suspect their deadly fate. We stay to watch while the
landscape becomes all-consuming, and devours our "heroes" like an ogre. (2008, 121 min, 35mm) JH
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More info at www.musicboxtheatre.com.
David Cronenberg's eXistenZ (Contemporary Canadian Revival)
Doc Films (University of Chicago) - Wednesday, 7 and 9pm
Viewers of late-night television may have noticed a recent influx
of advertisements for supplements that promote some nebulous, unnamed "natural male enhancement" called ExtenZe. One can only wonder if
the ad's creators had ever seen David Cronenberg's excellent rumination
on human supplementation, naming their pill in homage. Both the pill
and the film offer, in addition to creative capitalization, experiential
augmentation: the pill with the reintroduction of virility, the film
with the introduction of a haptic interface for video games. eXistenZ,
the titular video game, hardwires itself into the gamer's nervous system,
taking over key functions of the body, in order to synthesize a fully
realistic game experience. Sex and violence, as well as film theorist
Noël Carroll's musings on horrific exploitation of interstitial conceptual
schemata, all figure heavily in Cronenberg's work. Indeed, for Cronenberg,
sex and violence are inexorably linked. In addition, questions of un/reality
and the limits of physicality are all raised when the film begins exploring
bodily enhancement. Considering this, what might it mean for our world
and ExtenZe? Well, let's hope those new, artificially-virile men never
feel a flush of rage and take up arms in revolution. (1999, 97 min,
35mm) DM
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More info at www.docfilms.uchicago.edu.
Alexis Dos Santos' UNMADE BEDS (New
British)
Facets Cinémathèque - Check venue website showtimes
Short with curly unkempt hair and an eager smile, Axl (Fernando
Tielve) speaks the uneasy accent of a person who isn't sure that they're
pronouncing every word correctly. He's slept in 20 different beds since
he left Madrid. "One for each year," he jokes, referring to his
age. He's crashing at some loft, though he's too drunk most of the time
to remember how he got there. A Belgian girl named Vera (Déborah François)
lives in the same building, spending most of her time worrying. What
Alexis Dos Santos has more or less set out to do is make a Wong Kar-Wai
film in London, with a big dose of former Wong right-hand man Christopher
Doyle's directorial debut, AWAY WITH WORDS, thrown in for good measure.
Wong's winding intersections, empty days, stop-start pacing, and switches
in point-of-view (plus AWAY WITH WORDS' switches in film stock and playful
intertitles) are transplanted wholesale. But the freedom afforded to
the characters sometimes makes you wish Dos Santos had just invented
a style of his own. The secret of Wong's approach is that he is always
at odds with his subjects; he follows dull lives with energy, and moves
freely through mazes. The result of Dos Santos' is that UNMADE BEDS
is a movie that resembles its characters: there's something half-hearted
about it, as if it feels it'd embarrass itself if it plunged all the
way into romance or liveliness or introspection or any of the other
ideas it dabbles in. The flirtation at the center of the film isn't
Axl's relationship with the Vera, but his and Dos Santos' flirtation
with committing to anything, including the search for his biological
father, which takes him to London in the first place. The result is
a lot of pretty faces, pretty words, and pretty colors, and not much
else. But that's fine; after all, it's what we invented cinema to do. (2009,
92 min, 35mm) IV
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More info at www.facets.org.
MORE SCREENINGS AND EVENTS
The Film Studies Center (University
of Chicago) presents the symposium The Material and the Code: Disciplinary
Crossings of Cinema and New Media on Saturday (9am - 5pm). On Friday
at 7pm (6pm reception) is a screening of work to complement the
symposium themes. Included are Ken Jacobs' excellent digital short CAPITALISM:
CHILD LABOR, Guy Maddin's ur-film-history short THE HEART OF THE WORLD,
Phil Solomon's Grand Theft Auto derived LAST DAYS IN A LONELY
PLACE, Lillian Schwartz's 1971 work OLYMPIAD, and more.
Chinese documentary filmmaker Huang
Weika will be in person for the screening of the 2009 film DISORDER
on March 3 at 6pm at the DePaul Art Museum, 2350 N. Kenmore Ave.
Also at Block Cinema (Northwestern University) this week, the
Reeltime series presents Hamid Rahmanian's 2009 US/Iranian documentary
THE GLASS HOUSE on Thursday.
The Conversations at the Edge series at the Gene Siskel Film Center, in collaboration with Lampo,
present video artist Takeshi Murata and musician Robert Beatty in person on Thursday. Murata will show video work, Beatty will perform
a set, and both will combine for a brand-new audio/video performance.
On Wednesday at 6pm at SAIC (112 S.
Michigan Ave., Rm. 1307), the Eye & Ear Clinic series screens
Cauleen Smith's 2008 New Orleans-shot "Afrofuturist ethnofiction" video THE FULLNESS OF TIME along with Lauren Kelly's short WILD
SEED.
On Sunday at 7pm, The Nightingale screens Brett Whitcomb and Bradford Thomason's documentary THE
ROCK-AFIRE EXPLOSION, about Showbiz Pizza's animatronic rock band.
On Friday, Chicago Filmmakers presents the program Kimuak: Short Films from Spain, featuring
a selection of recent Spanish narrative films.
On Friday at 7pm, Threewalls
gallery (119 N Peoria, #2D) presents the program Chasing Two Rabbits,
in which animators and musicians pair up for a live event. Animations
by Gracen Brilmyer, Peter Burr, Tom Burtonwood, Dana Carter, Jodie Mack,
Tracy Taylor, and Rebecca Schoenecker with sound by The Chicago Phonographers,
Chris Hammes, Eric Zeigenhagen, Steve Lacy, Frank Van Duerm, Kotoka
Suzuki, Cait Stevens, George Monteleone and Broken Chooser. Note
that the Fleischer Fischinger screening scheduled for Saturday has been
cancelled.
The Chicago Independent Movies and
Music Festival opens Thursday at St. Paul's Cultural Center with
Thomas Woschitz and Naked Lunch's film UNIVERSALOVE. The festival
continues through March 7. See www.cimmfest.org for more information and check next week's
Cine-File for coverage of selected programs.
Also at Facets Cinémathèque this week, in the "Facets
Night School" series Saturday at midnight, is Jang Joon-Hwan's genre-twisting
2003 Korean film SAVE THE GREEN PLANET. Michael Smith will talk on the film and maybe
untwist the genres.
Bank of America Cinema screens Bernhard Wicki's 1964 drama
THE VISIT on Saturday at 8pm.
Also at the Music Box this week:
Scandar Copti and Yaron Shani's German/Israeli film AJAMI is
held over; the midnight films Friday and Saturday are DISTRICT 13:
ULTIMATUM (see above) and Terry Gilliam's THE IMAGINARIUM OF
DOCTOR PARNASSUS; PARNASSUS is also in the Saturday and Sunday matinee
slot, along with Fritz Lang's CLASH BY NIGHT (see above).
Also at the Gene Siskel Film Center this week: Lloyd Bacon's
1933 musical (with the eye-popping Busby Berkeley numbers) 42ND ST.
plays Friday and Tuesday, with a lecture by Virginia Wright Wexman at
the Tuesday show; Louis Malle's 1994 film VANYA ON 42ND ST. and
Nikita Mikhalkov's 1977 film AN UNFINISHED PIECE FOR PLAYER PIANO both play in the Chekhov series, VANYA on Sunday and Wednesday and PIANO
on Sunday and Monday.
Also at Doc Films (University of Chicago) this week: the 1956
John Wayne-as-Genghis Khan fiasco THE CONQUEROR plays Sunday
in the Howard Hughes series; Lindsay Anderson's 1963 British drama
THIS SPORTING LIFE screens Monday; John Ford's majestic THE MAN
WHO SHOT LIBERTY VALANCE is the early show Thursday; and Bonnie
Sherr Klein's 1981 feminist anti-porn documentary NOT A LOVE STORY is the late show Thursday.
Roman Polanski's new film THE GHOST
WRITER opens Friday at the Landmark's Century Centre Cinema.
Pipers Alley, the unlikely secret
spot for occasional Bollywood films, is showing Karan Johar's 2010 film
MY NAME IS KHAN this week.
The Chicago Cultural Center hosts the Peace on Earth Film
Festival, with screenings Friday through Sunday. See peaceonearthfilmfestival.org for more information.
The Portage Theater screens
the 1944 film (on DVD) ONE BODY TOO MANY
in the Wednesday matinee series at 1:30pm; and on Saturday it's a Universal
Studios monster quadruple-feature staring at 4pm with DRACULA,
FRANKENSTEIN, THE WOLF MAN, CREATURE FROM THE BLACK LAGOON,
and THE MUMMY'S HAND.
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