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:: Friday, APR. 13 - Thursday, APR. 19 ::


Jafar Panahi and Mojtaba Mirtahmasb's THIS IS NOT A FILM (New Iranian)
Gene Siskel Film Center — Check Venue website for showtimes
The disingenuously titled THIS IS NOT A FILM, Jafar Panahi and Mojtaba Mirtahmasb's surprise entry to last year's Cannes Film Festival (it was smuggled to France via a pen drive inside of a cake), is by its very nature one of the most vital films in recent memory. Simply made but far from simple, it's a radical cri de coeur from a filmmaker whose itch to express himself remains intact despite efforts by Iranian authorities to silence him. As Panahi makes unambiguous in the film through candid mobile-phone conversations, he will likely go to jail. This devastating reality does not seem to interfere with his capacity to reflect lucidly on his filmmaking process in relation to Iranian censorship, and to speak playfully and generously with the (few) people around him. The film reaches an unexpected crescendo in the final ten minutes or so, as Panahi follows his doorman on rubbish-collection routine. Unexpectedly cathartic, this sequence is a powerful testament to Panahi's filmmaking dexterity, his capacity to find poetic substance in the most ordinary of situations. THIS IS NOT A FILM is built from nothing, and yet every moment has a powerful urgency to it. A panel discussion follows the 6pm Sunday screening - check the Siskel website for details. (2011, 75 min, HDCam Video) GK
More info at

Films by Les Blank (Documentary Revival/Festival Retrospective)
Chicago International Movies & Music Festival — Logan Theater, showtimes listed below
Over the next eleven days, Chicagoans will have the opportunity for an immersion-course in the films of celebrated documentarian Les Blank—who will be in attendance at all screenings. Beginning this weekend at CIMMFest, and continuing at The Nightingale and Columbia College (see next week's list for details), the city will see seven different screenings comprising fifteen films made between 1964-1987. As expected, CIMMFest features several of Blank's films focused on regional roots and ethnic music and the cultures from which they arise. Apart from his documentation of Werner Herzog shooting FITZCARRALDO, BURDEN OF DREAMS (1982, not showing but readily available on a Criterion DVD), his music films are what Blank is most known for. The six films showing, three programs of two films each, encompass jazz, zydeco, blues, traditional Cajun and Serbian music, and the music and culture of New Orleans and Mardi Gras. Three of the films stand out for me—one in each program. A WELL-SPENT LIFE (1971, 44 min; showing with ZIVELI! MEDICINE FOR THE HEART, 1987, 51 min; Friday, 7pm) is an intimate portrait of Texas sharecropper and astounding blues singer and guitar picker Mance Lipscomb, who plays and philosophizes with equal simplicity and truth. DRY WOOD (1973, 37 min; showing with SPEND IT ALL, 1971, 41 min; Saturday, 5pm) reveals the lesser-known black Creole culture of Louisiana, centering on the music and family and community life of Bois-Sec Ardoin and Canray Fontenot. DIZZY GILLESPIE (1965, 22 min; showing with ALWAYS FOR PLEASURE, 1978, 58 min; Saturday, 9:30pm) is a model of efficiency in its brief but evocative portrait of the legendary trumpeter. This is Blank's most focused film in the fest, both in terms of subject matter and formally; and this is where his films seem strongest—when the frequently hand-held camera settles down and just stays with someone. Watching Mance Lipscomb use a folded up pocket knife as a guitar slide, the Popovich Brothers wringing the emotion out of a song in ZIVELI, or Professor Longhair's mesmerizing and deceptively easy-looking New Orleans' blues piano playing in ALWAYS FOR PLEASURE—that's the nub of things; that's all you really need. All 16mm. PF
See Also Recommended below for additional CIMMFest coverage
More info and complete festival schedule at

Johnnie To's BREAKING NEWS (Contemporary Hong Kong Revival)
Doc Films (University of Chicago) — Thursday, 9:30pm
Johnnie To's crackling action movie/media satire/filmmaking master class begins with a virtuoso seven-minute-long take  and only gets better from there. Following a botched police bust, a group of criminals holes up in an apartment building and takes a few hostages; pretty soon, their stand-off with the cops devolves into posturing and one-upmanship, with each side doing their darnedest to manipulate the pesky TV news reporters gathered at the scene. An unmatched craftsman of choreographed action and suspense, To is at the top of his game here: his use of cranes, zooms, dollies, depth-of-field, and shifting perspectives is nothing short of dazzling. But what makes this movie such a goddamn masterpiece is the way it also functions as a grand statement of artistic principles—a film about how images work, what makes them exhilarating, and how they can be manipulated. Simply put, one of the great movies of our time. (2004, 90 min, 35mm) IV
More info at

Whit Stillman's DAMSELS IN DISTRESS (New American) 
Landmark's Century Centre Cinema — Check Venue website for showtimes 
"Education!" exclaims colorblind Thor upon realizing that he has learned (?) to identify the colors of the rainbow, one that he spotted from across the university campus and then darted up to a balcony to point at. He's one of many fraternity "doufi" that the overly-proper girls from the Suicide Prevention Center at turns pity and detest for their lack of sophistication and, in the case of group leader Violet (Greta Gerwig), are attracted to because, she explains, with these kinds of guys there's opportunity to help them grow. While the damsels are characteristic Stillman (articulate, conservative, refined—albeit more fictional), with "their distress" the writer-director known for comically detailing the lives of young, over-educated, upper-echelon, hyper-verbal urbanites goes for broad comedy: In a given scene you can find yourself laughing at both the girls' conversations and the slapstick backgrounds populated by guys falling off buildings. The results of Stillman's mix of humor is largely successful, though it can occasionally seem amiss tonally, mostly in the beginning. If this film—and if its main character, brilliantly played by Gerwig—weren't so idiosyncratic then these charges would carry some weight. But for a film that owes as much to Stillman's imagination as it does to Busby Berkeley's dancing, DAMSELS IN DISTRESS is allowed to be as gauzy, ethereal, and uneven as it wants to because when it works it comes together beautifully. As Richard Brody wrote in his New Yorker review, DAMSELS "is a great movie even though, at times, it's not even a good one."  Its release this weekend happens to coincide with Doc's screening of Berkeley's work in FOOTLIGHT PARADE and the Farrelly brothers' THE THREE STOOGES, another comedy that alludes to the lighter entertainment sensibilities of America's 30s and 40s. (2011, 99 min, Unconfirmed Format) KH
More info here.


Jacques Rivette's PARIS BELONGS TO US (French Revival) 
Block Cinema (Northwestern University) — Saturday, 2pm 
The official inaugural nouvelle vague movie in some parallel dimension (but rather more obscure in ours) is not BREATHLESS but this first feature by Jacques Rivette, co-written by Jean Gruault (who also worked with Truffaut, Godard, and Resnais) and shot by Charles Bitsch (an oft-uncredited assistant director for Godard) sporadically between 1957 and 1960, with an outrageously large and varied cast (including Godard himself, with a brief, amusing cameo as a outdoor-café layabout). The general vibe is a mix of noir paranoia and bohemian inconsequentialness, as the naïve young protagonist Anne (Betty Schneider) explores the literary and dramaturgical subcultures of her brother Pierre's arty acquaintances (including the blacklisted expatriate American writer "Philip Kaufman," not played by Philip Kaufman) while simultaneously trying to solve a rather dubious mystery involving the death of a young Spanish guitarist. The pace is slow and reflective, and the consistent, jarring currents of global conspiracy in this otherwise-recognizable underground of writers, students, and aesthetes reminds the viewer just how equally conspiratorial even the most conventional Hollywood B-movie plots could be, with their molls, murderers, and mad scientists. Highly recommended to anyone interested in observing cinéphiles becoming cinéastes. (1960, 141 min, 35mm) MC
More info at

Chicago International Movies & Music Festival
Various Venues — Continues through Sunday 
Drawing comparisons to South by Southwest, the Chicago International Movies & Music Festival is a four-day exhibition of film screenings, concerts, multimedia performances, and discussions taking place throughout Wicker Park and Logan Square. For most cinephiles, the highlight of the weekend will be the Les Blank retrospective (see above), but one would be remiss to overlook the festival's lesser-known offerings. Friday features THE THREE GRACE(S) TRIPTYCH, an avant-garde horror trilogy created by Nicola Kuperus and Adam Lee Miller of the Detroit electronic duo ADULT. A cross between Dario Argento and Kenneth Anger, the films channel a Midwestern macabre style, exploring murder plots and paranormal activity in the backwoods of Michigan. Saturday's UPRISING: HIP-HOP AND THE L.A. RIOTS explores the connection between gangsta rap and the rage that ensured after the Rodney King beating. Featuring interviews with rappers Ice Cube and KRS One, as well as former rioters, police, and victims, the documentary resists a narrow-minded, partisan explanation of the events. Also playing is SCI FI SOL, which has been called the first "silent movie super hero video game musical." Sunday spotlights two of the festival's best documentaries, NYMAN IN PROGRESS and FLUCHKES. Part minimalism, part Mozart, part rock & roll, Michael Nyman's music has continually challenged traditional conceptions of the classical genre. NYMAN IN PROGRESS follows the iconoclastic pianist/composer best known for his striking film scores as he traces his Polish heritage, debuts a new video project, and tours the globe. FLUCHKES centers on a group of septuagenarian women who find meaning and friendship in their mutual love of dance. A life-affirming meditation on aging and the artistic process, the film possesses a perfect blend of humor and poignancy. Visit the CIMMFest website for more information about other happenings, including DJ/VJ sets, music videos, and Q&A sessions.  HS  
Note: Harrison Sherrod is a Programming Assistant for CIMMFest.
More info and complete festival schedule at

James Benning's TWENTY CIGARETTES (New Experimental)  
Conversations at the Edge at the Gene Siskel Film Center — Thursday, 6pm  
Unlike the landscapes, bodies of water, roads, or buildings he usually trains his camera on, the subjects in James Benning's new feature—twenty different people, each framed from roughly the chest up and each smoking a cigarette—are aware of the filmmaker's presence; the result is alternately fascinating or frustrating, depending on how much each smoker plays to the camera—the less a subject poses or postures (I'm lookin' at you, Smoker #2), the better Benning's long-take, static camera approach works. Benning in person. (2011, 99 min, HDCam Video) IV
More info at

Mia Hansen-Løve's GOODBYE FIRST LOVE (New French)
Block Cinema (Northwestern University) — Friday, 7pm
A cryptic logic—as well as overwhelming emotion—pervades Mia Hansen-Løve's GOODBYE FIRST LOVE. The movie seems to advance by intuition: you can never predict where it's going. The story follows Camille and Sullivan from adolescence, when they're high-school sweethearts who go through a traumatic breakup, to their mid-20s, when they reunite after several years. Nothing happens comfortably or predictably: Hansen-Løve will devote several minutes to a seemingly mundane action, then bring the plot several months into the future with a simple, unassuming edit. The movie also generally seems tied to Camille's perspective, though it shifts at several critical moments to depict things that happen only to Sullivan. It's puzzling as to just whom or what is guiding the film's attention; perhaps it's the characters' passion itself, which has transformed the film's structure no less radically than it has the characters. Hansen-Løve is playing with aspects of narrative movies we usually take for granted—such a consistent perspective and a clear sense of time's passage—and turning them inside out. The result is a movie that seems organized not by events but by their emotional impact. Hansen-Løve's subject is how it feels to love somebody too passionately—the all-consuming romance we must experience but ultimately reject in order to grow up. She's keen to the exhilaration of first love as well as its dangerous unpredictability: it has a nervous momentum you can't quite put your finger on, as though something very bad might happen at any time. Yet the film conveys great warmth in its intimacy to the characters, which persists even when they resist easy sympathy. Remarkably, all of the actors convey a decade worth of emotional development in the film's 110 minutes. Bittersweetly, but with eyes wide open and mind unclouded, Hansen-Løve conveys the impermanence of youth by playing up another basic fact that movies take for granted: that the images you see in a theater are constantly disappearing before your eyes. I was in tears throughout the film; I missed it well before it was over. (2011, 110 min, 35mm) BS
More info at

Lloyd Bacon's FOOTLIGHT PARADE (American Revival)
Doc Films (University of Chicago) — Sunday, 7pm
Busby Berkeley, Lloyd Bacon, and company have a lot on their minds with FOOTLIGHT PARADE, the Pre-Code musical spectacular most concerned with the idea of what place, if any, theatrical productions have within cinema. James Cagney, hoofer extraordinaire, stars as an ex-stage director, now tasked with developing movie prologues—live performance spectacles to be put on prior to film screenings. The order is a tall one, and the setbacks pile on, but with the help of Berkeley mainstays Joan Blondell, Ruby Keeler, Dick Powell and Guy Kibbee, three lavish musical numbers emerge from all the shenanigans. Two of these alone are worth the price of admission: the geometric water dance "By A Waterfall" and Cagney's barstool ballad of lost love,"Shanghai Lil." The former ranks perhaps as Berkeley's definitive number, the screen awash with shower-capped sirens synchronized in a mind-bending water ballet. The display may be the logical extension of Berkeley's famed work as a Broadway choreographer, but his eye on the whole extravaganza is nothing if not cinematic. He shoots his chorus of mermaids with a restless camera, and in the moments where it assumes a bird's eye view of the proceedings, lovely ladies and narrative structure alike fall by the wayside and a purely psychedelic experience overwhelms the screen. And no sooner has "By A Waterfall" carved out a niche for the stage spectacle on film then along comes "Shanghai Lil," making the case that musical numbers were born for the movies. It fittingly starts offstage, as Cagney trips through the curtain and finds himself before an audience, assuming the role with a coolness that's only bolstered by Berkeley's slow-tracking reveal. Here's a number that owes its very conception to movie lore (Sternberg's SHANGHAI EXPRESS had topped the box-office the year before, with Marlene Dietrich turning heads as Shanghai Lily), and FOOTLIGHT PARADE's grand finale escalates from a clever barroom riff on the Shanghai Lil' mythology to a grand musical march sporting every cinematic tool in the book, from tracking shots to animation. It may just be the best musical number of the 1930s, which is no small feat because it's only barely the best musical number in the film. (1933, 104 min, 35mm) TJ
More info at

Andrei Tarkovsky's THE MIRROR (Soviet Revival)
Doc Films (University of Chicago) — Tuesday, 7pm
Long before the great TREE OF LIFE euphoria of 2011, another film (from another director's famously sparse oeuvre) went off uncharted into the space between memories past and present, mapping onto them a universal significance. Andrei Tarkovsky's THE MIRROR may lack dinosaurs and metaphorical doors in the desert, but it does set a mean precedent for everything a passion project can be when an auteur is working on such an intensely personal level. Long a dream project of Tarkovsky's, it was only in the wake of SOLARIS that he was able to secure funding, and armed with a meager allotment of film stock, he began production in late 1973. Given the non-linear, dreamlike progression of the film, such obstacles aren't hard to comprehend, and they perhaps explain why this is his most fleeting film outside his debut, IVAN'S CHILDHOOD. Drawn across the middle of the 20th century, THE MIRROR takes a stream of consciousness journey through familial memories, with actors in dual roles as father and son, as wife and mother. Woven in are poems penned by Tarkovsky's own father, assorted clips of wartime newsreel footage, and the quiet, ethereal imagery characteristic of all his films. It all makes for a hazy dream of cinema, one from which you tragically wake too early. But lest the length should fool you, this is not Tarkovsky for beginners. No surprise that at his most personal, he's also at his most esoteric, so an afternoon spent with one of his aforementioned films would be a good primer. As for those already in his thrall, this is imperative viewing. (1974, 108 min, 35mm) TJ
More info at

Terry Gilliam's TIME BANDITS (British Revival)  
Doc Films (University of Chicago) — Wednesday, 7 and 9:15pm 
If Andrei Tarkovsky crafts profound lyric poems about dreams and the time-space continuum, then Terry Gilliam might be his lowbrow, comic book counterpart. Indeed, anachronistic whimsy abounds in TIME BANDITS, the first feature in Terry Gilliam's "Trilogy of Imagination." The film centers on Kevin, a precocious young history buff who discovers that his bedroom closet is a time portal to the past. After inadvertently joining forces with a team of treasure hunting dwarves, he travels to various centuries, encountering Napoleon, Robin Hood, Agamemnon, and others. Each dwarf has been said to represent a member of the Monty Python troupe (Gilliam himself is embodied by Vermin, the plucky leader of the group). The word "logic" is not part of Gilliam's vocabulary, and the sooner one can jettison the need for any hint of historical accuracy or narrative coherence, the sooner one will be susceptible to the film's charm. Though it has the trappings of a children's movie, TIME BANDITS features some delightfully disturbing images, namely undead minotaurs who emit fireballs from their empty eye sockets. In fact, under its fanciful surface, this is essentially a story about a boy who's so ignored by his parents that he welcomes what befalls them. Gilliam attempts to inject the film with some social commentary by offering a perfunctory critique of techno-modernity and consumer culture, but luckily this gets lost amidst all the wackiness. As with any Gilliam film, TIME BANDITS boasts plenty of psychedelic eye candy and visual wizardry, including spatial distortion, inverted images, and M.C. Escher-esque set design. A nice aperitif before next week's screening of Gilliam's dystopian magnum opus, BRAZIL. (1981, 116 min, 35mm) HS 
More info at

Martin Scorsese's HUGO (New American) 
Transistor (3819 N. Lincoln Ave.) — Monday, 8pm  
Martin Scorsese's ain't-cinema-grand tearjerker—stills from which will illustrate the entry for "sincere" in future editions of Merriam-Webster's Collegiate Dictionary—is one helluva odd movie: a gee-whiz showcase of digital technology that is explicitly about the importance of preserving film history, a two-hour-plus boys' adventure (complete with the usual trappings of orphanhood, self-discovery, and adult intrigue) in which very little actually happens, and a $150 million tentpole picture that feels deeply personal (to borrow a phrase from the Chicago Reader's Ben Sachs, this is Scorsese in full-on "hoarder" mode, cramming the mise-en-scene with throwaway reference to James Joyce, Louis Feuillade, and whatever else his hyperactive brain free-associates with the film's pre-war Paris setting). It's also pretty close to being a work of art. With every new filmmaking technology at his disposal, Scorsese creates a hyper-detailed alternate universe, a place where cinema functions as an upsetting force—opening up new possibilities, shifting the status quo, healing old wounds and bringing out the good in seemingly bad people. It's hopeful, naïve, and intoxicating. (2011, 128 min, DVD Projection) IV 
More info at


The Eye and Ear Clinic series at SAIC (112 S. Michigan Ave., Rm. 1307) presents Recent Film and Video Work by Tara Nelson, with Boston-based experimental filmmaker/curator Nelson in person, on Tuesday at 4:30pm. Nelson will present a selection of her work, including Super-8mm, 16mm, and multi-projector films and "live editing." Free admission  

Chicago Filmmakers (5243 N. Clark St.) presents Columbia College Experimental Film Screening (Video Projection - unconfirmed formats) on Friday at 8pm. Among the filmmakers screening are Max Nitch, Lauren Alberque, Andrew Tucker, Rob Kurland, Brandyn Magnuson, and Matt Biondo. On Saturday at 8pm (social hour at 7pm), the Dyke Delicious series screens Mary Murphy's 2010 documentary HEY BOO: HARPER LEE AND TO KILL A MOCKINGBIRD (82 min, Video Projection - unconfirmed format).  

The Northwest Chicago Film Society (at the Portage) screens Roy Ward Baker's 1958 British Titanic drama A NIGHT TO REMEMBER (123 min, 35mm). Showing with the original trailer for James Cameron's 1997 film TITANIC (35mm).  

The Film Studies Center (University of Chicago) hosts Cinematic Diasporas: New Media Cultures and Experiences: 8th Annual CMS Graduate Student Conference on Friday and Saturday. In addition to the student panels on Saturday, Anna Everett, Professor of Film, Television and New Media Studies at the University of California at Santa Barbara, will deliver a keynote address on Friday at 5pm, Terence Nance's 2012 film AN OVERSIMPLIFICATION OF HER BEAUTY (94 min, DVD Projection) screens on Friday at 7pm, and Edgar Wright's 2010 film SCOTT PILGRIM VS. THE WORLD (112 min, 35mm) screens Saturday at 6:30pm. Free admission; reservations through the FSC website are recommended.  

The Chicago Latino Film Festival opens on Friday and runs through April 26 at various locations. Complete festival schedule at

Friday at 7PM and 9PM, Mess Hall screens BERKELEY IN THE SIXTIES, Mark Kitchell's 1990 documentary about the development of 60s Bay Area counterculture, focusing on cultural forces such as Mario Savio, Todd Gitlin, Joan Baez, Dr. Martin Luther King Jr., Huey Newton, Allen Ginsberg, Ronald Reagan and the Grateful Dead.  

Northwestern University's Alice Kaplan Institute for the Humanities, Modernism and Visuality workshop and the Department of Art History welcome Anthony Vidler (The Cooper Union), who will give a talk entitled Modernist Montage: Film Culture from Eisenstein to Le Corbusier on Thursday at 5pm. It's at the John Evans Alumni Center on the Evanston campus. Free admission.  

Also at the Gene Siskel Film Center this week: Charlie Kaufman's 2008 film SYNECDOCHE, NEW YORK (124 min, 35mm) screens Friday and Tuesday at 6pm, with a lecture by SAIC professor Dan Eisenberg at the Tuesday screening. Continuing this week is the Asian American Showcase. The narrative features, documentaries, and shorts programs showing are YES, WE'RE OPEN, I AM A GHOST, IN THE FAMILY, SALAD DAYS, JAKE SHIMABUKURO DOCUMENTARY, RESIDENT ALIENS (with RESTORING THE LIGHT), SING CHINA!, and Animal Style. Check the Siskel website for complete details, including information on visiting artists.  

Also at Doc Films (University of Chicago) this week: Quentin Tarantino's 1997 film JACKIE BROWN (154 min, 35mm) screens Friday at 7 and 10pm and Sunday at 1pm. Sean Derkin's 2011 drama MARTHA MARCY MAY MARLENE (102 min, 35mm) is on Saturday at 7 and 9pm and Sunday at 4pm. Films by Larry Jordan, featuring the experimental animator's RIME OF THE ANCIENT MARINER (1977, 42 min, 16mm) and COSMIC ALCHEMY (2010, 24 min, 16mm), is on Monday at 7pm. And on Thursday at 7pm, it's Korean filmmaker Kim Ki-duk's 2003 drama SPRING, SUMMER, FALL, WINTER...AND SPRING (103 min, 35mm).  

Also at the Music Box this week: the Architecture & Design Film Festival continues through Monday (check the Music Box website for the schedule). On Saturday at Noon, the shorts program How Not to Build a House features silent Laurel and Hardy (THE FINISHING TOUCH/LIBERTY, 1928/1929, 16mm) and Buster Keaton (ONE WEEK/THE HIGH SIGN, 1920/1921, 35mm) comedies, with Dennis Scott providing live organ accompaniment. James Swirsky and Lisanne Pajot's 2011 documentary INDIE GAME: THE MOVIE (94 min, Video Projection - unconfirmed format) screens on Tuesday at 7pm, with the filmmakers in person (special $15 admission). And on Thursday at 7:30pm, the Sound Opinions series, with hosts Jim DeRogatis and Greg Kot, presents D.A. Pennebaker's 1973 David Bowie concert film ZIGGY STARDUST AND THE SPIDERS FROM MARS (90 min, 35mm). Check the Music Box website for held-over titles.  

Also at Block Cinema (Northwestern University) this week: NU's Radio, Television, Film Department presents Greg Jacobs and Jon Siskel's local 2010 documentary LOUDER THAN A BOMB (99 min, Video Projection - unconfirmed format) on Wednesday at 7pm, with the filmmakers and special guests from the film in person (Free admission). François Truffaut's 1959 classic THE 400 BLOWS (99 min, 35mm) screens on Thursday at 7pm.  

Facets Cinémathèque presents Michaël R. Roskam's 2011 Belgian drama BULLHEAD (124 min, Unconfirmed Format) for a week long run. On Saturday at Midnight in the Facets Night School series, it's Seth Gordon's 2007 documentary THE KING OF KONG: A FISTFUL OF QUARTERS (79 min, Video Projection - unconfirmed format). Introduced by Dominick Mayer. Regular admission for BULLHEAD; $5 admission for KING OF KONG.  

On Sunday, the Chicago History Museum presents a music documentary triple feature: At 12pm, Harley Cokliss' 1972 CHICAGO BLUES (50 min); at 1pm, Suroosh Alvi and Eddy Moretti's 2007 HEAVY METAL IN BAGHDAD (84 min); and at 2:30pm, Geoff Harkness' 2008 I AM HIP HOP: THE CHICAGO HIP HOP DOCUMENTARY (113 min). All Video Projection - unconfirmed format. Free for members; free with museum admission for nonmembers.  

The Chicago Cultural Center (78 E. Washington St.) presents Cinema/Chicago's screening of Fen-fen Cheng's 2009 Taiwanese film HEAR ME (109 min, Video Projection - unconfirmed format) on Saturday at 2pm. On Thursday at 6:30pm, Kelly Luchtman's local 2010 documentary ARTISTS IN RESIDENCE: THE STORY OF THE ACME ARTISTS COMMUNITY (65 min, Video Projection - unconfirmed format) screens. Luchtman and three artists featured in the film (David Hernandez, Batya Hernandez and Laura Weathered) in person. Free admission for both films.  

The Portage Theater (4050 N. Milwaukee Ave.) hosts Angry Monkey Entertainment's screening of Marc Bennett's 2012 documentary HOT FLASH HAVOC (88 min, Video Projection - unconfirmed format) on Monday at 7:30 and 9:30pm. $8 admission (benefits the Portage).  

Alliance Française (54 W. Chicago Ave.) screens Étienne Chatiliez's 2001 French comedy TANAGUY (109 min, Video Projection - unconfirmed format) on Saturday at 1:30pm. $7 admission includes a glass of wine. Introduced by past Alliance president Randy Williams.  

The DuSable Museum (740 E. 56th Place) screens Samuel D. Pollard's 2012 documentary SLAVERY BY ANOTHER NAME (90 min, Video Projection - unconfirmed format) on Sunday at 2pm. Free admission.

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CINE-LIST: April 13 - April 19, 2012


CONTRIBUTORS / Michael Castelle, Rob Christopher, Kalvin Henely, Tristan Johnson, Gabe Klinger, Ben Sachs, Harrison Sherrod, Ignatiy Vishnevetsky, Darnell Witt

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