Chicago Guide to Independent and Underground Cinema
x x x x x x
> Sign up
> Editorial Statement
> Last Week > Next Week
a weekly guide to alternative cinema- - - - - - - - - - - - - - - - -
:: Friday, NOV. 2 - Thursday, NOV. 8 ::


Lawrence Jordan: Beyond Enchantment (Experimental Revival)
Conversations at the Edge at the Gene Siskel Film Center - Thursday, 6pm

Conversations at the Edge welcomes the prolific Bay Area artist and filmmaker Lawrence Jordan, maker of over fifty experimental films as well as numerous collages and box assemblages throughout his celebrated career. Originally inspired by Max Ernst's novels La Femme 100 Tetes and Une Semaine de Bonte, Jordan makes cutout animations from his rich collection of engravings, and he also creates personal documentaries to "interface with the real world on a poetic footing." In his early film OUR LADY OF THE SPHERE (1969), Jordan combines baroque pictures, Victorian cutouts, and space age symbols with a variety of music and noises, including animal sounds and buzzing. A faceless lady, with a sphere as her head, roves through the filmmaker's surreal world; occasionally, her oversized head floats away and then immediately reappears by itself to continue exploring.  Jordan's 1957 live-action film VISIONS OF A CITY (1978) captures Michael McClure walking down the busy streets of San Francisco. Producing varying degrees of distortion, Jordan captures this famous Beat poet in the city almost entirely through moving reflections. Jordan's recent film BEYOND ENCHANTMENT (2010) is a black and white, cutout animation to which he intermittently adds touches of color. Victorian ladies gaze upon the myriad scientific inventions of past centuries, which the viewer can no longer identify. What did the scientists wish to discover about their contemporary worlds through the use of these idiosyncratic inventions? Lastly, cutouts of fish, butterflies, and spheres gallivant across "ancient star maps of magnificent color quality" in COSMIC ALCHEMY (2010). Jordan's objects do not travel toward a lone destination; they surrender the maps, preferring the wonder of constant arrival. Lawrence Jordan in person. Jordan will also be in person for a second program of his work on Friday, November 9 at the University of Chicago. See next week's list for details. (1964-2010, 68 min total, 16mm and 35mm) CW
More info at

Mehrnaz Saeedvafa's JERRY & ME (New Documentary) and Jerry Lewis' THE BELLBOY (American Revival)
Gene Siskel Film Center - Saturday, 7:30pm and Wednesday, 8pm

There remains a presumption that Jerry Lewis is some kind of unaccountably French hang-up, a defining preference that demonstrates the incredulity of Gallic taste. To the average viewer, Lewis's on-screen persona—putty-faced and childish, naughty in an impenetrably private way—doesn't even rate as an American caricature; he's more like a stateless cartoon character with little purchase on adult consciousness. So it's definitely refreshing that Columbia professor Mehrnaz Saeedvafa's JERRY & ME (2012, 38 min, HDCam Video) starts with the assumption that Lewis is a distinctly American phenomenon and an apt figure for understanding US society. On balance, though, the most compelling footage and commentary has little direct connection to Lewis: Saeedvafa includes an extraordinary home movie of herself discussing whiteness with her son and provides a fascinating overview of the Iranian revolution and its eradication of a flourishing local appropriation of Western film culture. (Remember the scene in RIO BRAVO where John Wayne flirts with Angie Dickinson and then leaves her hotel room praising Allah? The brief excerpt seen here productively charts the ideological fluidity of Hollywood product.) The character of Lewis' Americanism is in no way settled by JERRY AND ME. Luckily, these matters are clarified a great deal by its co-feature THE BELLBOY (1960, 72 min, Archival 35mm Print), the first film for which Lewis assumed acting, writing, directing, and producing duties. In the sheer anonymous ugliness of its Fountainbleu Hotel setting, THE BELLBOY rates as a significant comment on the contemporary American scene and suggests a dozen ways of turning it against itself. (Imagine a version of WRITTEN ON THE WIND directed by Jacques Tati.) THE BELLBOY posits, movingly, that there's still some space for a silent comedy revival in the midst of a grey, corporatized world. It's not nostalgia: it's the act of a man refusing obsolescence. Screening in a beautiful original print from the Academy Film Archive. Saeedvafa in person at both screenings. KAW
More info at

Pierre Étaix's LE GRAND AMOUR & HAPPY ANNIVERSARY (French Revival)
Gene Siskel Film Center - Sunday, 3pm and Wednesday, 6pm

Actor/director/dapper everyman Pierre Étaix's first color feature is a playful collection of formal gags, Surrealist tangents, sepia-toned parodies, and poker-faced slapstick bits—comic poetry. Despite his background as a clown and stage comedian, Étaix always emphasizes the joke over the performance; his style—unlike that of his contemporary/kindred spirit Jerry Lewis—is all about structure (whether that means the layout of a narrative, the editing of a scene, or the order in which bits of a joke appear in an elegant tracking shot), and his on-screen persona is predicated on gentle understatement (which helps make the harsh outlook of his films très palatable). Also screening is Étaix's Academy Award-winning short HAPPY ANNIVERSARY—a hilarious, grim look at modern life that accomplishes more in 12 minutes than most movies manage to do in two hours. (1969, 87 min, 35mm / 1962, 12 min, 35mm) IV
More info at

Nicholas Ray's BIGGER THAN LIFE (American Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm

While Douglas Sirk was busy picking at the veneer 1950s American society—finding trouble in paradise via his biting melodramas and his darkening of Rock Hudson's romantic image—Nicholas Ray attacked the decade's complacency and social ills more directly. BIGGER THAN LIFE feels like it should be included among the mad rush of anxiety-ridden science fiction films of the time. Just as overblown and beautiful as Ray's perverse western JOHNNY GUITAR, BIGGER THAN LIFE is it's own kind of perversion—it's what would happen if The Dick Van Dyke Show had been left to rot. James Mason plays an overworked schoolteacher on his way from nausea to Middle American insanity. Given an experimental drug intended to cure his irregular blackouts, Mason's Middle American mores are set on overdrive (mass consumerism, wife hating, and hyper-enthusiasm for sports). This was Ray's third film shot in 'Scope and it's here that he masters the art of telling two stories at once. The film's characters and its contrived society close in and give way at the same time, balancing a world of cartoons with a world of people, and emulating the dizzy feelings of its leading man. Critic and artist Fred Camper lectures at the Tuesday screening. (1956, 96 min, 35mm) JA
More info at



Films by Bruce Conner (Experimental Revival)
Doc Films (University of Chicago) - Sunday, 7pm

Long before the term mash-up was coined, Bruce Conner was creating assemblage films jam-packed with recycled commercials, newsreels, B-movies, and soft-core porn. A one-man chop shop of found footage, Conner was influenced by the free association approach of surrealist filmmaking, and helped to prefigure the MTV music video aesthetic. Conner's fragmented style is reminiscent of André Breton's habit of visiting multiple movie theaters, but refusing to stay for an entire film. While the collection of images in Conner's first film, simply titled A MOVIE (1958), suggest a vague critique of war, several of his later works directly address issues of violence including REPORT (1967), a comment on the commodification of the JFK assassination perfect for the Marshall McLuhan era, and COSMIC RAY (1961), a highly kinetic juxtaposition of dark imagery (including atomic blasts) with the music of Ray Charles. Also look for the trippy MARYLIN TIMES FIVE (1973), in which a topless Monroe lookalike gyrates while chugging Coca-Cola. Chopped up, not slopped up. Also showing are TAKE THE 5:10 TO DREAMLAND (1977), VALSE TRISTE (1978), and MONGOLOID (1978). (1958-1978. 58 min total, 16mm) HS
More info at

Jacques Tati's MY UNCLE (Re-Discovered Version)
Gene Siskel Film Center - Sunday, 5pm and Monday, 6pm

It's hard to know exactly what to make of this English-language version of Jacques Tati's masterpiece MON ONCLE. Unlike the color version of JOUR DE FETE (also first released many decades after the original), MY UNCLE just seems unnecessary. Trying to appeal more to American and British audiences, Tati re-filmed selected scenes of MON ONCLE in English (it's not just a case of dubbing) at the same time that the French version was being shot. He also, reportedly, changed some of the compositions and camera placements (though I was hard-pressed to notice the differences) and added and subtracted some minorly differing footage (the scene where Madame Arpel serves her son an egg is a bit longer in the English version, for example). But the bulk of the film is the same and the modest changes and alternate language are ultimately of little account. It's still the great MON ONCLE people already know, only with a slight sense of rupture of the familiar. For an English-speaking audience, the English dialogue might be welcome, but it does cut into the Gallic flavor. Tati's next two films, PLAYTIME and TRAFIC, both amp up the internationalism (principally through language), though, so MY UNCLE can be seen as a more logical transitional work from MR. HULOT'S HOLIDAY to PLAYTIME than MON ONCLE is. But, really, the difference is just a matter of degree. It's like reading the same Ionesco play in two different translations. I still prefer the original, and would likely recommend people see that as a first viewing over the English version, but not at the cost of seeing MY UNCLE on the big screen in favor of MON ONCLE on DVD. (1958, 117 min, Restored 35mm Print) PF
More info at

Don Siegel's INVASION OF THE BODY SNATCHERS (American Revival)
Doc Films (University of Chicago) - Thursday, 7pm

When you re-watch a movie that has been prodded, analyzed, inspected, and dissected as much as this cold war classic has, it frees you up. Unburdened from the necessity of having to pay attention to "what it means," you're suddenly at leisure to examine the film's details, trapped in cinematic amber, including all the banal little bits of business. One: Dr. Miles J. Bennell is a terrible motorist. He's always lurching through gearshifts, making turns going too fast, failing to break enough in advance, even hitting curbs. Then again, as studies have shown, drowsy driving is as bad as drunk driving. Speaking of drinks, when Miles and Becky go out to dinner they're never able to have so much as a sip of those mouthwatering martinis. They'll remain on the restaurant's bar for eternity. The movie is packed with such throwaways. Siegel's strictly no-nonsense style only heightens the impact of those moments when he allows for visual poetry. Who can forget the image of Miles and Becky lying side by side underneath the boards as their pursuers search for them, or the terrible epiphany only moments later when the blinding whiteness of Becky's eyes tell Miles that all is lost? (1956, 80 min, 35mm) RC
More info at

Busby Berkeley's THE GANG'S ALL HERE (American Revival)
Film Studies Center (University of Chicago) at the Logan Center for the Arts (915 E. 60th St.) - Friday, 7pm (Cake and Champagne Reception); 8pm (Screening and Door Prizes)

Showing in celebration of the Film Studies Center's 20th anniversary, with a reception preceding the film. Dali's dream sequences in Hitchcock's SPELLBOUND seem to get all the notoriety, however there are fewer images in 1940's cinema more surreal than that which closes THE GANG'S ALL HERE. A field of disembodied heads (among them, Benny Goodman's!) floating in a vast sea of electric blue. All of them singing at full volume. It's only the capper in a movie full of deeply weird things. A forest of artificial palm trees, their fronds shimmery green satin, crowned with fake coconuts but real monkeys. Edward Everett Horton coated with bright red lipstick. And, of course, Carmen Miranda in her tutti-frutti hat. At one point in the movie a character cries, "We haven't got time to be sensible!" It's nothing less than the movie's manifesto. The filmmakers know that we don't care a fig about the plot, and so the "story" is little more than a collection of era-specific elements: a solider, a chorus girl, mistaken identities, a benefit show. In the best tradition of surrealism, the story is just a device that lets the real movie in. Namely, the exhilaration of casting aside any pretense at naturalism—the wildest production design captured in the most hallucinogenic Technicolor this side of THE ADVENTURES OF ROBIN HOOD. They really don't make 'em like they used to. (1943, 103 min, New 35mm Print) RC
More info at

Joe Dante's GREMLINS 2: THE NEW BATCH (American Revival)
Doc Films (University of Chicago) — Tuesday, 7pm

The (etymologically mysterious) "gremlin" is one of the most modern of myths, with its origin in WWII airmen's tales of technological sabotage; and while the 1984 film GREMLINS—set in a backlot-simulated small town—limited the mischievous animatronic-puppet destruction to consumerist sites of household goods and department stores, its sequel appropriately centers on a symbolic temple of managerial capital, a hyper-automated midtown office tower inspired simultaneously by Trump and Tati. As with the recent CABIN IN THE WOODS, an antiseptic and efficient surveillance bureaucracy is portrayed as a form of social organization whose continued survival is undeserved, and which must be duly and gleefully demolished by monsters of its own creation. This destruction is enacted through scene after scene of diverse genre parodies of camp cinema. (1990, 106 min, 35mm) MC
More info at

Hayao Miyazaki's NAUSICAÄ OF THE VALLEY OF THE WIND (Japanese/Animation Revival)
Doc Films (University of Chicago) - Friday, 7, 9:15, and 11:30pm; Sunday, 1pm

This is the film that made the whole Studio Ghibli animation factory operation possible, and—if we're setting aside all modesty—ushered in a veritable golden age of animation. NAUSICAÄ OF THE VALLEY OF THE WIND is in so many ways the prototypical Hayao Miyazaki film: a sprawling environmentalist parable with a headstrong female protagonist, a girl with blinding, childlike optimism who faces down a world thrown into chaos. Recurring Miyazaki themes, including his fascination with flight and his abiding love of nature, are front and center here, all wrapped up in a cavalcade of cartoon adventure for all ages. A princess with more agency, not to mention spunk, than Disney had yet to devise, Nausicaä is the favorite daughter of the Valley of the Wind, one of the world's last refuges against the ever-encroaching Toxic Jungle, the inhospitable fallout of a global war occupied by giant insects known as the Ohmu. Gradually, a larger picture of the world is painted, as neighboring military powers Tolmekia and Pejite threaten the safety of the planet in their misguided quests to push back against the Jungle. The film packs in an alarming amount of back-story, thanks largely to Nausicaä's knack for interior monologue, a habit forgivable not just because this is still ostensibly a children's film, but also for the gasp-inducing visuals that often accompany her chronic narration. Joe Hisaishi's score is a marvel too; an oscillating mix of nostalgia-inducing synthesizers and his typical swelling orchestral compositions. NAUSICAÄ remains one of Miyazaki's most arresting and under-appreciated masterpieces. (1984, 116 min, 35mm) TJ
More info at

Marcelo Gomes and Karim Aïnouz's I TRAVEL BECAUSE I HAVE TO, I COME HOME BECAUSE I LOVE YOU (Experimental Revival)
Film Studies Center at the Logan Center for the Arts (915 E. 60th St.) - Thursday, 7pm

Shot over the course of ten years, this pseudo-documentary is narrated by a clearly fictional character, played by Irandir Santos, as he travels for a month over the proposed route of a canal, making a geological survey. We never see him, though some times we do get brief shots of rocks and fissures with explanations of their compositions. More frequently, however, are his discussions of his love for his ex-wife, who has recently left him, a departure that has prompted his present journey. The speaker's inability to think outside of sophomoric and navel-gazing clichés—'every marriage is perfect until it ends,' 'I feel love a hatred for you; I feel sudden bursts of love and hate,' 'Not even love it eternal; even love ends'—contrasts with the camera's vaguely ethnographic gaze on the local inhabitants of the towns it is implied he passes through. It displays an impersonality at odds with his relentless self-pity, the ugly crispness of videographic cinematography rendering even the most potentially lovely of shots with lurching and soulless mere precision. The editing, uncomfortably without rhythms or patterns, akin to the puzzling tonal shuffles of psychedelia, is even a third narrator, or perhaps a third and equal aspect of one compound and contradictory narrative machine. The speaker expresses a series of platitudes about romantic tribulations; the camera travels, driven (often literally, in an automobile) blankly through a landscape absent any sign of the speaker's presence; and the juxtapositions of shots jumping from empty shocks to torporific stutters. Love, document, and desperate randomness are presented here as accidentally bound—meaningful only in retrospect, important only as glimpsed in the process of decay. This is the kind of film that feels it necessary to tell us the breakfast menu of the motel in which the main character fucks a girl he picks up at a gas station but not her last name or even give us a glimpse of her in motion. (All we see of her is a few still photographs.) Another woman he sleeps with in a hotel room dances provocatively and joylessly while anonymous techno-trash music chants, 'action... action... action...' The camera allows us almost one glance at her face but concentrates its attention on her gyrating thong. Still another prostitute, 22-year-old Patricia, in clumsy, halting sentences, describes a dreamt-of world of happiness that, even in its fantasy and simplicity, far overwhelms the callow descriptions that the narrator obsesses over. Patricia's affecting face and guileless sentiments, her casual comfort in her own physicality and generous character show her to be by far the more self-aware and vibrant person. Rather than illustrating the speaker's story, I TRAVEL BECAUSE I HAVE TO, I COME HOME BECAUSE I LOVE YOU uses its complicated structure to undercut the tedious stupidity of its narrator. Not a great film, but an unforgettable one. (2011, 71 min, Digital Projection - Unconfirmed Format) KB
More info at



The Art Institute of Chicago opens the exhibit focus: Hito Steyerl, which features six of the artist's video installations, on Thursday. It runs through January 27.

The Art Institute of Chicago continues an exhibition of work by artist Steve McQueen, which features a number of his film/video installation pieces, on Sunday. The show runs through January 6.

Ongoing at the Museum of Contemporary Art though May 12 is MCA Screen: Akram Zaatari, featuring the artist's 2010 Single-channel HD video Tomorrow everything will be alright (12 min loop).

On view daily through November 25 at the Art Institute of Chicago as part of the Film and Photo in New York exhibition are several films showing in Gallery 4. Included are Paul Strand's MANHATTA (1921), Louis Faurer's TIME CAPSULE (1960s), Weegee's WEEGEE'S NEW YORK (1948), Helen Levitt's IN THE STREET (1952), Morris Engel's LITTLE FUGITIVE (1953), and Robert Frank's PULL MY DAISY (1959). Check for the screening schedule.



The Eyeworks Festival of Experimental Animation presents Jim Trainor's outstanding 1997 animated film THE FETISHIST (38 min, 16mm) on Sunday at 7pm at Roots & Culture (1034 N. Milwaukee Ave.).

The Department of Germanic Studies at the University of Illinois at Chicago presents Reflexivity and the Small Form: A Symposium on Thursday from 9am to 5:30pm at Gallery 400 (UIC, 400 S. Peoria St.). The day begins with coffee at 9am, followed by a welcome at 9:45am. The first session (10-11:45am) is moderated by Sara Hall (UIC) and features commentator Virginia Wright Wexman (UIC), Jennifer Reeder (UIC) presenting "NEVERMIND: form follows feminism," and John E. Davidson  (Ohio State University) presenting "Deutschland, O Nein! Reflexivity and Form through 13 Short Films on the State of the Nation." Session Two (2-3:45pm) is moderated by Dagmar C.G. Lorenz (UIC) and features commentator Steven Marsh (UIC), Kevin B. Lee (Video Essayist and Founding Editor, Fandor; Editor and Video Producer, Indiewire Press Play) [and Cine-File contributor] presenting "Fast+Free+Fun = Fullfilling?: Observations on Trends in Online Video---Form Film Studies," and Tom Gunning (University of Chicago) presenting "Count Down: from the urgency of compression to infinite expansion." Concluding the day at 4pm is the Keynote Address by Volker Pantenburg (University of Illinois at Chicago/Bauhaus University Weimar), who presents the talk "In and Beyond the Shot. Reflexivity and the Small Form." RSVP to Julia Koxholt at

As part of the Chicago Humanities Festival, the Chicago Cultural Center hosts James Chandler (Professor of English, Univ. of Chicago), who will present the talk Mr. Capra Goes to Washington on Saturday at 10:30am.

Chicago Filmmakers screens Jeremy Zerechak's 2011 documentary CODE 2600 (82 min, Video Projection - Unconfirmed Format) at Columbia College's Hokin Hall (623 S. Wabash Ave.) on Friday at 7:30pm.

As part of the closing of Squared Community Art Walk, Cinema Culture will host a screening on Sunday at 8pm at Coles' Bar (2338 N. Milwaukee Ave.) that reviews the recent Squared window installation that featured work by Timothy David Orme, Simo Ezoubieri, Nelson Carvajal, Joseph Waggoner, and Jason Ogawa. The show will include additional work by Brian Evans Aaron Zeghers, Nick Benidt, and The Doozer.

The Polish Film Festival in America runs from November 2-18 at various locations around the city. For a complete schedule and more info visit

The Bicycle Film Festival takes place this weekend at various locations. For a complete schedule and more info visit

The Northwest Chicago Film Society (at the Portage Theater) presents Roy Del Ruth's 1935 film THANKS A MILLION (87 min, 35mm) on Wednesday at 7:30pm. Also showing is Arthur Davis' 1937 cartoon LET'S GO (7 min, IB Technicolor 16mm Print).

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens John McTiernan's 1990 film THE HUNT FOR RED OCTOBER (134 min, 35mm) on Wednesday at 1pm. More info at

Also at the Gene Siskel Film Center this week: Andrea Segre's 2011 French/Italian drama SHUN LI AND THE POET (100 min, 35mm) and Ted Kotcheff's 1971 Australian suspense film WAKE IN FRIGHT (114 min, Restored 35mm Print) both play for a week; Unjoo Moon's 2012 documentary THE ZEN OF BENNETT (84 min, DCP Video) screens Friday at 8pm, Saturday at 3 and 4:45pm, and Monday at 6:15pm; and the shorts program The Great Refusal: Videos Taking on New Queer Aesthetics (2006-12, 65 min total, Various Formats) screens on Monday at 8pm, with nine of the artists showing in person.

Also at Doc Films (University of Chicago) this week: Ridley Scott's 2012 film PROMETHEUS (124 min, 35mm) screens on Saturday at 7 and 9:15pm and Sunday at 3:15pm; Jean-Pierre Melville's 1956 French crime drama BOB LE FLAMBEUR (102 min, 35mm) is on Monday at 7pm; John Carpenter's 1982 sci-fi/horror classic THE THING (109 min, 35mm) is on Wednesday at 7 and 9:15pm; Yuen Woo-ping's 1978 Hong Kong action film SNAKE IN THE EAGLE'S SHADOW (98 min, 35mm) is on Thursday at 9pm; and the folks from FilmDrunk's Frotcast will be in person doing their podcast thing and screening Paul Michael Glaser's 1987 film THE RUNNING MAN (101 min, 35mm) on Saturday at 11:30pm and Sunday at 9:30pm.

At the Music Box this week: Julia Loktev's 2011 US/German film THE LONELIEST PLANET (113 min, Unconfirmed Format) opens; Ira Sachs' 2012 gay drama KEEP THE LIGHTS ON (101 min, DCP Projection) continues; Mark Cousins' 2011 documentary series THE STORY OF FILM: AN ODYSSEY continues with the episodes "American Cinema of the 70's" and "Movies to Change the World (1970's)" (approx 60 min each, Blu-ray Projection) on Saturday and Sunday in the 11:30am matinee slot; and the weekend Midnight films are David Lynch's 1984 sci-fi film DUNE (137 min, Unconfirmed Format) on Friday, Sing-A-Long Xanadu (Unconfirmed Format) on Saturday, and Michael Paul Stevenson's 2012 documentary THE AMERICAN SCREAM (Unconfirmed Running Time and Format) on Friday and Saturday.

Block Cinema (Northwestern University) screens Ursula Meier's 2012 French/Swiss drama SISTER (100 min, 35mm) on Friday at 7pm; and Julia Meltzer and Laura Nix's 2011 US/Syrian documentary THE LIGHT IN HER EYES (85 min, Video Projection - Unconfirmed Format) on Thursday at 7pm, with co-director Nix in person.

Facets Cinémathèque continues the Chicago International Children's Film Festival through Sunday (at Facets and other venues around Chicago; check the website for complete schedule and details).

Landmark's Century Centre Cinema screens Steven Spielberg's 1993 film JURASIC PARK (127 min, Digital Projection - Unconfirmed Format) on Friday and Saturday at Midnight. 

The Chicago Cultural Center, in co-presentation with Cinema/Chicago and the Italian Cultural Institute of Chicago, presents Andrea Salvadore's 2012 documentary PORTLAND 2 PORTLAND - A POLITICAL TRAIN JOURNEY ACROSS AMERICA on Sunday at 5pm, with director Salvadore, star Beppe Severgnini, cameraman Gianni Scimone, and producer Soledad Ugolinelli in person.

The Logan Theater screens Alfred Hitchcock's 1954 film REAR WINDOW (112 min) on Friday and Saturday at 11:30pm; and Richard Donner's 1985 film THE GOONIES (114 min) on Friday and Saturday at 11pm. Both are Video Projection - Unconfirmed Format.

The Italian Cultural Institute (500 N. Michigan Ave., Suite 1450) screens Massimo Martelli 's 2011 film BAR SPORT (93 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Reservation recommended: call (312) 822-9545.

The Goethe Institut-Chicago (150 N. Michigan Ave. Suite 200) screens Dominik Graf's 2010 television production IN FACE OF THE CRIME - EPISODE 4: THE BETRAYAL (50 min, Video Projection - Unconfirmed Format) on Monday at 6pm.

Alliance Française (54 W. Chicago Ave.) screens THEATRE DE LA MODE (1991, 59 min, Video Projection - Unconfirmed Format), directed by Stanley Garfinkel, Thomas Ball, and Charles Duval, on Monday at 6:30pm. Chicago fashion maverick Nena Ivon will lead the post-screening discussion.

Transistor (3819 N. Lincoln Ave.) screens Robert Altman's 1973 film THE LONG GOODBYE (112 min, DVD Projection) on Monday at 8pm.

The Portage Theater hosts a screening of the documentary CHASING SARASOTA (Unconfirmed Running Time, Video Projection - Unconfirmed Format) on Monday at 7:30pm.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

CINE-LIST: November 2 – November 8, 2012

Patrick Friel

CONTRIBUTORS / Julian Antos, Kian Bergstrom, Michael Castelle, Rob Christopher, Tristan Johnson, Harrison Sherrod, Ignatiy Vishnevetsky, K.A. Westphal, Candace Wirt, Darnell Witt

> Editorial Statement -> Contact