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:: Friday, OCT. 19 - Thursday, OCT. 25 ::

CHICAGO INTERNATIONAL FILM FESTIVAL - WEEK TWO

The second and final week of CIFF isn't packed with as many prestige pictures as week one, but there are still some serious bright spots for festivalgoers to keep a lookout for. Carlos Reygadas—who won CIFF's top prize, the Gold Hugo, for SILENT LIGHT—has his latest film, POST TENEBRAS LUX, screening throughout the week, and Jan Troell's THE LAST SENTENCE will finish out its screenings Friday and Saturday, with Troell on hand to introduce. Meanwhile, Bille August's portrait of an artist's wife, MARIE KROYER, gets two late-in-the-festival showings for those who missed it last week. Other buzzed about films surfacing over the next seven days include Chicago-centered MR. SOPHISTICATION, a dark drama about a cool comic played by Harry Lennix, and the Kubrickian conspiracy doc, ROOM 237, in which amateur critics rattle off increasingly spectacular theories on THE SHINING. Thrown into the contemporary mix is retro-selection THE PATSY, King Vidor's silent classic of sibling rivalry, showing Sunday afternoon with live musical accompaniment (though, we hear, from DVD). Or, for a very different side of film history, look out for THE THREE DISAPPEARANCES OF SOAD HOSNI, a Lebanese documentary on the revered star of Egyptian cinema, part of the festival's Spotlight on the Middle East program. The highlight of the week two, however, might just be NIGHT ACROSS THE STREET, the final film completed by the great, prolific Raul Ruiz before his death last year. Like MYSTERIES OF LISBON, it probes the places where stories overlap each other, where memory and imagination begin to blur, all filtered through the reminiscences of his elderly hero, Don Celso. Of course, there's also the handful of special presentation screenings for films likely to surface at the local multiplexes before long, but even with the festival winding down, there are still plenty of promising alternatives that likely won't be playing any time soon at a theater near you. TJ
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More info and complete schedule at http://www.chicagofilmfestival.com.
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For our coverage on the CIFF, check our blog: cine-file.info/forum. We will be adding new reviews on an ongoing basis throughout the festival.

 

CRUCIAL VIEWING

CHICAGO 8: Small Gauge Film Festival
Cinema Borealis (1550 N. Milwaukee Ave., 4th Floor) - Friday and Saturday, 8 and 10pm each night

The Chicago 8 festival returns for its second edition this weekend, with four different programs, two each on Friday and Saturday nights. Organized by local experimental filmmakers Karen Johannesen and Josh Mabe, the shows mix new and slightly older works made in the Super-8 and Regular-8mm formats. While I was not able to preview the programs, I have seen nearly all of the retrospective titles (uniformly recommended) and am familiar with the work of many of the artists with new films showing (and what I have seen by those artists bodes well for the fest). Particularly exciting though, given than I see many hundreds of experimental films each year, is the inclusion of work by artists I've never heard of: sometimes this can be a bad sign; but when they are peppered throughout a line-up as strong as this one looks, that perks up my eyes. The first program, Silver Halide Crystals (Friday, 8pm) features a new work by long-time Boston filmmaker Saul Levine (LIGHT LICKS) along with new films by Stephanie Wuertz, Pablo Marín, Mie Kurihara, Tobias Schmuecking, Pablo Valencia, and Naren Wilks, and Sheri Wills' 2000 film FEVER. Program Two, Intimate Immensity (Friday, 10pm) promises to be the best, with Saul Levine's excellent 2000 film WHOLE NOTE, the first two of three outstanding early films by Julie Murray, FF (1986) and TR'CHEOT'MY P'Y (1988), Tony Wu's fascinating 1999 film MORE INTIMACY, and Stephanie Gray's 1999 film DEAR JOAN providing a retrospective-heavy focus. Also in the program are new films by Clint Enns, Pablo Marín, and Tara Nelson. Program Three, When I Think Back (Saturday, 8pm), features new films by Robert Todd, Pablo Valencia, Sam Hoolihan, Ross Meckfessel, and Chicago 8 co-founder Jason Halprin. Also showing are Julie Murray's EXPULSION (1989), Tony Gault's SOMEWHERE I WAS BORN (2000), and Gordon Nelson's FEATHER (2008). The final program, Maximum Aperture (Saturday, 10pm), includes Luther Price's amazing JELLYFISH SANDWICH (1994) and new work from Janis Lipzin, Paul Clipson, and Adam Paradis. A number of the filmmakers will be in person. PF
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More info and the complete schedule at http://chicago8fest.org.


Jacques Tourneur's NIGHTFALL (American Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm
NIGHTFALL—it's hard to think of a better title for Jacques Tourneur's film. It's as perfect for him as SUNRISE is for Murnau. The titles don't describe the films, but rather the sensation of watching them (though really isn't that the same thing?): Murnau's film is full of shadows, but every minute of it seems to bring you closer to some dawn; Tourneur's is almost free of them—it looks more like a B Western than a noir—but with every reel, the world itself seems to get darker, even as the film seems to come closer and closer to daytime. Aldo Ray is a very ordinary man trying to make a normal life out of his extraordinary circumstances—he's both wrongfully accused and on the run from the real perpetrators, neither able prove to the police that it was a pair of bank robbers that killed his best friend and not him nor convince to the bank robbers that he doesn't have their money. That's the tension—our tension, our doom, really, because it isn't Ray that is tense, or even the film. Somehow, all those feelings belong to us, to the audience, and it's that effect that makes NIGHTFALL one of Tourneur's most essential movies. Critic and artist Fred Camper lectures at the Tuesday screening. (1957, 78 min, 35mm) IV
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More info at www.siskelfilmcenter.org.


TVTV: Four More Years (Documentary/Activist Media)
Conversations at the Edge (at the Gene Siskel Film Center) - Thursday, 6pm
The countercultural tide of the 1960s and 70s generated more than political protests, a growing drug culture, advancing feminism, and Bob Dylan—it also spurred an intense (though regrettably short-lived) burst of activist media makers, working in both film (the various Newsreel collectives) and newly-available portable video. One of these guerilla-style video collectives was TVTV (Top Value Television), founded in 1972 in San Francisco. With the goal of producing a more unfiltered look at the world than network television provided, TVTV adopted something like a cinema verité-style approach to their reportage. In FOUR MORE YEARS, their first production, they visit the 1972 Republican presidential convention in Miami. With very little editorializing, they present a surprisingly even-handed look at the delegates, youth volunteers, attending and participating politicians, and network newscasters (including Mike Wallace and Walter Cronkite). The results are totally compelling: this is a raw, authentic-feeling, and free-flowing look at an event that, by its very nature, is packaged and artificial. TVTV interviews everyone from youth volunteers making signs to Henry Kissinger. They allow the inherent artificiality of political showmanship and the words of their subjects—sometimes genuinely sympathetic, sometimes cluelessly self-damning—to carry things along. Former TVTV members Allen Rucker and Tom Weinberg in person. (1972, approx. 60 min, DVD Projection) PF
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More info at http://blogs.saic.edu/cate.


Claude Sautet's CLASSE TOUS RISQUES (French Revival)
Doc Films (University of Chicago) - Monday, 7pm
[Note: Spoilers!] Although Claude Sautet directed his first feature film BONJOUR SOURIRE! in 1956, he aptly chose CLASSE TOUS RISQUES to mark the beginning of his career. Adapted by Sautet, Jose Giovanni, and Pascal Jardin from Giovanni's novel, CLASSE TOUS RISQUES stars Lino Ventura as Abel Davos, a wanted criminal who hopes to return to Paris in order to escape the Italian police closing in on him. Travelling with his wife Therese (Simone France), two young children, and friend Raymond Naldi (Stan Krol), Davos first reaches the small city of Menton on a gloomy French Riviera. Ambushed by border patrol, Davos and Naldi engage in a gunfight that ends with the death of Naldi as well as Therese. Eventually, a kind stranger, Eric Stark (Jean-Paul Belmondo), drives Davos and his children to Paris, but once there, Davos must contend with his former partners who turn on him in addition to the police. According to Giovanni's close friend and collaborator Bertrand Tavernier, all of his novels and screenplays center on the connected themes of survival and the dread of compromise or betrayal. In CLASSE TOUS RISQUES, the existential protagonist only lives while on the run through cities beautifully realized through Sautet's preferred Italian Neorealist lens. Davos can no longer face the victims of his crimes; he does not want to remain a criminal, but he is unsure of where to go and what to do. So, he stays on the run to nowhere until he realizes his own literal nothingness. In a recent essay on CLASSE TOUS RISQUES, Tavernier praised Sautet's new crime film, "Like Jacques Tourneur, Sautet renew[ed] the genre, profoundly, from the inside, instantly turning dozens of contemporary films into dusty relics... [He] succeeded in infusing his action scenes with absolute authenticity, breathing such an incredible sense of real life into them that it is said they won him the admiration of Robert Bresson." (1960, 110 min, 35mm) CW
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More info at www.docfilms.uchicago.edu.

        

ALSO RECOMMENDED

Home Movie Day (Special Event)
Chicago History Museum - Saturday, 11am-2:30pm (Inspection); 1:30-2:30pm (Screening)
Presented locally by Chicago Film Archives, the Northwest Chicago Film Society, and the Chicago History Museum this year, this annual, worldwide celebration of home movies is absolutely essential viewing for anyone who cares a whit about motion picture art, history, sociology, ethnography, science, or technology. Anyone who loves the sound of a projector. Anyone who loves deep, luscious Kodachrome II stock that is as gorgeous as the day it was shot. Anyone who loves dated, faded, scratched, and bruised film—every emulsion scar a sacred glyph created by your grandfather's careless handling 60 years ago. Anyone who wants to revel in the performance of the primping and strutting families readying for their close up. Anyone who wants to see what the neighborhood looked like before you got there. So find your 100 foot reels of 16mm you just had processed from your sister's Quinceañera or your grandfather's thousands of feet of Super 8mm from your uncle's Bar Mitzvah in 1976 or that 8mm your great aunt shot from Dealey Plaza in 1963 and come out for Home Movie Day. Bring by your films for staff and volunteers from the Chicago Film Archives and The Northwest Chicago Film Society to inspect and screen. An informal "best of" screening of films brought in by visitors, and possibly some nuggets from CFA's own collection, will run from 1:30-2:30pm, with live accompaniment by the amazing David Drazin. JBM
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More info at www.chicagofilmarchives.org.


Curtis Harrington's NIGHT TIDE (American Revival)
Northwest Chicago Film Society (at the Portage Theater) - Wednesday, 7:30pm
Most histories of avant-garde cinema, especially P. Adam Sitney's Visionary Film, tend to privilege oeuvres over careers. One casualty of this drive for unified poetics is Curtis Harrington, a filmmaker whose life story is more suggestive than many of his films. At various times a critic, a distributor, an experimental filmmaker, an exploitation director, and eternally a Monster Kid (that obsessive breed of horror film fan who continually returns to the films of their childhood), Harrington left a complicated body of work. Revisiting his early avant-garde shorts (FRAGMENT OF SEEKING, PICNIC) is instructive but frustrating—they exemplify the late forties vogue for cinematic psychodrama but stay within a tinny emotional register. The later horror features, like WHAT'S THE MATTER WITH HELEN and especially THE KILLING KIND, are both better-crafted and intrinsically more perverse. Between these two distinct phases lies NIGHT TIDE, a transitional picture that looks no less an orphan today than it did fifty years ago. Too precious for the hipster crowd and too arty for the horror hounds, shelved by AIP and finally dumped on the market two years later, NIGHT TIDE is the rare picture that's divisive because of its sensitivity. Dennis Hopper has never been more vulnerable on screen—he's a kid playing a kid, but he still comes off as a Method outsider looking in on an unfathomable character. Showing with a 1961 episode of the children's television series DIVER DAN (7 min, 16mm). (1961, 84 min, Archival 35mm Print) KAW
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More info at www.northwestchicagofilmsociety.org.


Ivan Reitman's GHOSTBUSTERS (American/Cult Revival)
Patio Theater - Friday, 10pm; Saturday and Sunday, 3pm
Upon its original release, the 1984 summer blockbuster GHOSTBUSTERS wittily inscribed a bourgeois, rationalist ideology onto a inestimable cross-section of Generation X. Amateur occultist Dan Aykroyd's screenplay, a contemporary updating of the corny Abbott & Costello and Bob Hope comedy-horror features of his youth, is sustained by an ingeniously savvy understanding of Reaganomic mythology that makes Frederic Jameson look like Dave Barry. The titular expelled Columbia University parapsychology postdocs get in on the ground floor of an emerging urban economy: the containment of the psychic energy of investment capital, sublimated into ludic, phantasmic form. Manifesting in historic arenas of the old-money upper class (Ivy League libraries, Upper West Side apartments, posh turn-of-the-century hotels), these gilded ghouls rise from the grave to celebrate industrial deregulation and income-tax cuts (Slimer in particular representing a ravenous and futile hyperconsumption), but unsurprisingly bring chaos to the liberal, environmentalist enclave of Manhattan. As the protagonists' success ushers in an era of celebrity entrepreneurship, the infantile collective Ghostbusters id repeatedly transgresses the demands of a variety of old-fashioned academic, bureaucratic, or municipal-juridical superegos to now-classic comic effect. GHOSTBUSTERS is suffused with a particular heteronormative, ascetic intellectual machismo from start to finish. Feminine promiscuity, for example, is definitively linked here to demonic possession, and the absurd Stay-Puft Marshmallow Man (unleashed by the secular unconscious as a direct result of the Ghostbusters' attempt to physically mediate between an empirical positivism and occult theology) is defeated only through the violation of a puerile "stream-crossing" taboo, with our heroes simultaneously jizzing nuclear-powered laser beams into the glammy, gender-ambiguous Gozer's icy ziggurat. A very serious diversion. (105 min, 35mm) MC
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More info at http://patiotheater.net.


Marie Losier's THE BALLAD OF GENESIS AND LADY JAYE (Documentary)
Block Cinema (Northwestern University) - Thursday, 7pm
Kahlil Gibran has this advice for those considering marriage: "...And stand together yet not too near together; for the pillars of the temple stand apart..." Well, engineering has come a long way since then. Losier's film is the holographic wedding tape of a post-corporeal monolithic love-affair between former Psychic TV and Throbbing Gristle frontman Genesis Breyer P-Orridge (formerly George P-Orridge, etc.) and the mysterious LES dominatrix Lady Jaye. From the day they met, Genesis and Jaye were drawn closer and closer to a unified aesthetic that they described as "Pandrogyne," a body project that blended and exaggerated their features through style and surgeries, creating a composite, fetishized other that they would both greet in the mirror. Loose temporal editing makes it difficult to admire the progress of their work; did they ever get it how they wanted it, or was it as hit-or-miss as it looks? Apparently the gender of the future borrows Zsa-Zsa Gabor's X-chromosome. But if this sounds unflattering, flattery would be most unwelcome. This is not a vanity project: what is most striking is P-Orridge's unflinching commitment to spiritual freedom. This changing body is merely a container for his spirit, or as his use of the royal 'We' suggests, their spirits. Those familiar with P-Orridge's long career of will be pleased to see that time has only softened his curves, not his restless curiosity and button-pushing output. (2010, 75 min, Video Projection - Unconfirmed Format) JF
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More info at www.blockmuseum.northwestern.edu.


Hayao Miyazaki's CASTLE IN THE SKY (Japanese/Animation Revival)
Doc Films (University of Chicago) - Friday, 7, 9:30, and 11:45pm; Sunday, 1pm
The runaway success of NAUSICAÄ OF THE VALLEY OF THE WIND gave Hayao Miyazaki and longtime cohort Isao Takahata the momentum they needed to found their own animation factory, and in 1985 Studio Ghibli was formed. One year later and Ghibli was debuting its first feature, the heartfelt adventure CASTLE IN THE SKY, providing an exhilarating standard for things to come. Taking cues from a long tradition of adventure stories—Gulliver's Travels being the obvious one, but you can feel the influence of Hergé here as well—Miyzaki's third film is certainly his most action-packed, and if it lacks some of the quieter pleasures associated with his later films, it more than makes up for this in the bounty of thrilling set pieces that stretch from the rails of a rustic mining town to the pirate-infested skies far above. Beyond it all is the mythical floating castle of Laputa, sought after by various parties including power hungry Colonel Muska accompanied by a seemingly inexhaustible standing army, tough-as-nails ski-pirate Ma Dola and her rowdy boys, and the two intrepid kids caught up at the center of it all, restless Pazu and the enigmatic girl he rescues, Sheeta. Amidst breathtaking battles with airships and automatons, the film achieves something more than merely introducing Ghibli to the masses; it makes a case for what animation is truly capable of. Released from the live-action burden of special effects, CASTLE IN THE SKY slips more comfortably into the ranks of the timeless adventure stories than just about any film since, retaining today every ounce of wonder that it packed when it launched the celebrated studio more than a quarter century ago. (1986, 126 min, 35mm) TJ
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More info at www.docfilms.uchicago.edu.


 Paul Thomas Anderson's THE MASTER (New American)
Patio Theater - Check Venue website for showtimes
[Note: To the best of our knowledge, this is the first 35mm presentation of the film in Chicago; it has only been screening digitally except for the 70mm advance screening at the Music Box prior to its release] Warning: Paul Thomas Anderson isn't going to answer your questions. And his movie will be exceedingly elegant in its refusal to answer your questions, of which you'll have many, and for which you'll either love him or despise him. It might be the most important lesson he ever learned from Robert Altman: how crucial it is to touch viewers on an "unconscious basis to where they sense something rather than intellectually know or agree to something." To further quote Altman from Hasti Sardishti's piece: "If they come there and sit in front of their sets or in the theater, and they don't go halfway with you, and don't take the material in front of them and process it through their own history, it's meaningless. If they do they might not have any idea what that was about, but they feel it was right and they know it that fits." Everything in THE MASTER, from its graceful camera movements to the occasional, frightening bursts of violence, fits. The cinematography of Mihai Malaimare Jr. is the most stunningly evocative portrayal of 50's America this side of FAR FROM HEAVEN; every image feels freshly washed, particularly in the 70mm print that played at the Music Box earlier this year (and which will hopefully make an encore soon). The performances are riveting too. Philip Seymour Hoffman is so mesmerizing that he could easily walk away with the movie, but he's matched by the rest of the cast. Joaquin Phoenix's Freddie Quell is a combustible mix of Brando-style mumbling and volcanic violence. He actually feels dangerous. While Amy Adams, as Dodd's tenacious and manipulative wife, is chillingly perfect. You get the sense that without her ruthless encouragement, Dodd might simply smother himself with his own words. Behind it all is Anderson's Zen-like refusal to hit all the usual plot points or tidy up his characters' messy lives. In fact, the movie's "happy" ending is actually disorienting; just as Dodd keeps his followers off balance, Anderson remains firmly ambivalent to the end. Who's ready to see it again? (2012, 136 min, 35mm) RC
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More info at http://patiotheater.net.


Joel Schumacher's THE LOST BOYS (Contemporary American Revival)
Landmark's Century Centre Cinema - Friday and Saturday, Midnight
In addition to being the first movie where Corey Feldman and Corey Haim appear together, THE LOST BOYS is also a darn good time. In a rarity for a horror film from the '80's, the comedic elements work to lighten the mood without bringing too much cheese. Much as with Schumacher's previous movie targeted towards teenagers, ST. ELMO'S FIRE, the production team doesn't cut corners. Recently pubescent vampires (Keifer Sutherland, Jason Patric, and Jami Gertz) and soon-to-be pubescent comic store geeks (Haim and Feldman) get the adult treatment as realistic characters, without a comic foil in the bunch. Though the film was shot in and around Santa Cruz, the fictional location of San Carla, CA, is adeptly rendered as a dark and downtrodden small town, and feels like it could exist on the edge of the Salton Sea. With it's run-down boardwalk, gang problems, and mysterious disappearances, this is not the "Sunny California" that was (and is?) a staple of the movies. Though the film lags a bit during the third act, the night-time scenes of the amusement park and the vampires' lair are dead on, and the soundtrack features an excellent cover of "People are Strange" performed by Echo and the Bunnymen. (1987, 97 min, Unconfirmed Format) JH
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More info here.


Jean-Luc Godard's BAND OF OUTSIDERS (French Revival)
Transistor (3819 N. Lincoln Ave.) - Monday, 8pm
Time has been incredibly kind to Jean-Luc Godard's lightweight "crime movie," a notable flop in its time, which has emerged, nearly half-a-century later, as one of the filmmaker's most enduringly (and endearingly) popular films. A seemingly tossed-off distillation of the themes, obsessions, and techniques of JLG's early period, this loose adaptation of a largely-forgotten American pulp novel—Fool's Gold, by Dolores Hitchens—stars Sami Frey and Claude Brasseur as a couple of incompetent dreamer hoods, and Godard's then-wife and muse Anna Karina as a girl they meet in their English class and rope into helping them commit a robbery. Karina gives what is perhaps her definitive performance, combining tragedy, resolve, and girlish charm into a single enigmatic package, and the film's giddy, scuzzy style—packed tight with references, meta-jokes, and directorial flight-of fancy—is downright intoxicating. If you've never seen a Godard film, this might be the place to start. (1964, 97 min, Video Projection - Unconfirmed Format) IV
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More info at www.transistorchicago.com.


MORE SCREENINGS AND EVENTS

On Thursday at 7:30pm, the Chicago Cinema Society (at the Portage Theater) presents an extremely rare 35mm screening (this print comes from Australia) of Harry Bromley Davenport's 1983 sci-fi horror cult film XTRO (81 min) and Charles Martin Smith's 1986 horror film, also in 35mm, TRICK OR TREAT (98 min).

On Saturday, Movieside presents The Massacre at the Portage Theater. The daylong festival begins at 11:30am with a selection of vintage trailers and short films. All of the feature films are scheduled to show in 35mm. The schedule is as follows: Luis Buñuel and Salvador Dali's UN CHIEN ANDALOU (1928, 16 min, 16mm with live organ accompaniment; Noon); Edgar G. Ulmer's THE BLACK CAT (1934, 65 min; 12:30pm); Terence Fisher's THE CURSE OF THE WEREWOLF (1961, 91 min; 1:45pm); Michael Reeves' THE WITCHFINDER GENERAL (1968, 86 min; 3:30pm); David Cronenberg's FROM THE DRAIN (1967, 14 min, 16mm; 5:15pm); Jack Hill's SPIDER BABY (1968, 81 min, New 35mm Print, Jack Hill in person; 5:30pm); Dan O'Bannon's THE RETURN OF THE LIVING DEAD (1985, 91 min, actress Linnea Quigley in person; 7:45pm); Don Coscarelli's PHANTASM II (1988, 97 min; 10pm); Jovanka Vuckovic's THE CAPTURED BIRD (2012, 10 min, Unconfirmed Format; 11:45pm); Chuck Russell's A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (1987, 96 min; Midnight); Nobuhiko Obayashi's HAUSU (1977, 88 min, presented by Chicago Cinema Society; 1:45am); Joseph Sargent's NIGHTMARES (1983, 99 min; 3:15am); John Carpenter's PRINCE OF DARKNESS (1987, 102 min; 5am); Tommy Wirkola's DEAD SNOW (2009, 91 min; 6:45am); Alfred Hitchcock's FRENZY (1972, x min; 8:30am); and Rick Rosenthal's HALLOWEEN II (1981, 92 min; 10:30am).

The Chicago Film Seminar meets this Thursday at 6:30pm, with guest speaker Haidee Wasson (associate professor of film studies and associate dean of research and graduate studies at Concordia University in Montreal) who will present the talk Protocols of Portability and Projection: Technologies of the Small Screen at Mid-Century. Jacob Smith, assistant professor of radio, television and film at Northwestern, will deliver the response. New Location: DePaul's Loop Campus in the Daley Building at 14 E. Jackson Blvd. (Room LL 102; Use the State St. entrance, located at 247 S. State). More info at http://chicagofilmseminar.blogspot.com.

On Saturday at 6pm, The Nightingale presents FOR THE/HER/A SCREEN: An Evening of Projected Cross-Media Work, described as an "evening of projected, cross-media work; broad in definition and scope...Works will be projected onto the screen, the wall, and alternative substrates throughout the space." The Before/After/Intermission section includes work by Aiden Simon, Wolfie E. Rawk, and Michael Hall. Program 1 [Body] runs from 6:30-8pm and includes work by Cameron Worden, Nico Gardner, Sallie Smith, Whitney Johnston, Giana Gambino, and Autumn Hays. Program 2 [Space] runs from 8:30-10:30pm and includes work by Hannah Verrill, Calum Walter, Milad Mozari, Liz Ensz, Stephanie Acosta, and John Paul Morabito.

The Englewood Film Festival opens on Thursday and continues next week, Friday through Sunday (October 26-28) at Kennedy King College (6258 S. Halsted) and Ice Theater (210 W. 87th St.). More information at www.englewoodfilmfest.com.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Richard Lester's 1976 film ROBIN AND MARIAN (106 min, 35mm) on Wednesday at 1 and 7:30pm.

The Film Studies Center (University of Chicago) screens Pip Chodorov's FREE RADICALS: A HISTORY OF EXPERIMENTAL FILM (2010, 82 min, Digital Projection - Unconfirmed Format) on Friday at 7pm; and Florence Jaugey's 2011 Nicaraguan feature LA YUMA (91 min, Digital Projection - Unconfirmed Format) on Thursday at 7pm. Both at the Logan Center for the Arts (915 E. 60th St., Film Screening Room).

The Art Institute of Chicago (Rubloff Auditorium) screens two films by Steve McQueen in conjunction with the opening of his exhibition. His 2008 film HUNGER (96 min) is on Friday at 4pm and his 2011 film SHAME (101 min) is at 8pm. Unconfirmed Formats.

Also at the Gene Siskel Film Center this week: SAIC grad So Yong Kim's 2012 film FOR ELLEN (87 min, HDCam Video) and Benh Zeitlin's 2012 film BEASTS OF THE SOUTHERN WILD (93 min, 35mm) both play for a week; Ardak Amirkulov's 1991 film THE FALL OF OTRAR (176 min, 35mm) screens on Saturday at 3pm and Monday at 6:30pm; and Morteza Farshbaf's 2011 Iranian film MOURNING (85 min, DigiBeta Video) on Saturday at 8:15pm and Sunday at 3pm. Screenwriter Anahita Ghazvinizadeh will be present for audience discussion on Saturday, and will introduce the film on Sunday and be present for informal discussion in the Gallery/Café.

Also at Doc Films (University of Chicago) this week: Richard Linklater's 2011 film BERNIE (104 min, 35mm) screens on Friday at 7 and 9pm and Sunday at 3pm; Craig Baldwin's WILD GUNMAN (1978) and ROCKITKITKONGOKIT (1986) (approx. 50 min total, 16mm) are on Sunday at 5:30pm; Joseph Cedar's 2011 film FOOTNOTE (103 min, Unconfirmed Format) is on Sunday at 7:30pm, with director Joseph Cedar in person; Joe Dante's 1984 film EXPLORERS (109 min, 35mm) is on Tuesday at 7pm; John Carpenter's 1981 ESCAPE FROM NEW YORK (99 min, 35mm) screens on Wednesday at 7 and 9pm; Jack Arnold's 1954 classic  CREATURE FROM THE BLACK LAGOON (79 min, 35mm) is the 7pm Thursday film; and Lau Kar-leung's 1983 Hong Kong film EIGHT-DIAGRAM POLE FIGHTER (98 min, 35mm) is the 9pm Thursday film.

At the Music Box this week: Daniél Espinosa's 2010 film EASY MONEY (124 min, Unconfirmed Format) and Eugene Jarecki's 2012 documentary THE HOUSE I LIVE IN (108 min, Unconfirmed Format) both open; Lisa Immordino Vreeland, Bent-Jorgan Perlmutt, and Frédéric Tcheng's 2011 documentary DIANA VREELAND: THE EYE HAS TO TRAVEL (86 min, Unconfirmed Format) and Mike Birbiglia and Seth Barrish's 2012 film SLEEPWALK WITH ME (90 min, Unconfirmed Format) both continue; a double feature of the anime films MADOKA MAGICA: PART 1: BEGINNINGS and PART 2: ETERNAL (Unconfirmed Running Times, Unconfirmed Format) screens on Saturday at 9:30pm; Mark Cousins' 2011 documentary series THE STORY OF FILM: AN ODYSSEY continues with the episodes "Post-War Cinema (1940's)" and "Sex & Melodrama (1950's)" (approx 60 min each, Blu-ray Projection) screen Saturday and Sunday in the 11:30am matinee slot; also in the 11:30am Saturday and Sunday matinee slot is William Wellman's 1931 film NIGHT NURSE (72 min, 35mm); The Midnight films are Michael Paul Stevenson's 2012 documentary THE AMERICAN SCREAM (Unconfirmed Running Time and Format) on Friday; and John Carpenter's 1988 film THEY LIVE (93 min, Unconfirmed Format) on Friday and Saturday.

Chicago Filmmakers screens Mark Daniels' 2011 documentary THE STRANGE DISAPPEARANCE OF THE BEES (58 min, Video Projection - Unconfirmed Format) at the Second Unitarian Church of Chicago (656 W. Barry) on Friday at 8pm.

Also at Block Cinema (University of Chicago) this week is Andrey Zvyagintsev's 2011 Russian film ELENA (109 min, 35mm) on Friday at 7pm.

Facets Cinémathèque plays Anthony Baxter's 2011 documentary YOU'VE BEEN TRUMPED (95 min Unconfirmed Format) for a week; and the Facets Night School screening this Saturday at Midnight is Lee Harry's 1987 film SILENT NIGHT, DEADLY NIGHT PART 2 (88 min, Video Projection - Unconfirmed Format), introduced by Dominic Mayer.

The Chicago Cultural Center screens Brad Lichtenstein's 2012 documentary AS GOES JANESVILLE (Unconfirmed Running Time, Video Projection - Unconfirmed Format) on Saturday at 2pm.

Note: Due to a time-constraint this week, we have to present an abridged MORE SCREENINGS list. Please visit the websites of the following for information on their screenings.

Logan Square International Film Series
TRUE ROMANCE
(Video Projection - Unconfirmed Format)

Logan Theater
A NIGHTMARE ON ELM STREET
(Video Projection - Unconfirmed Format)
DRAG ME TO HELL (Video Projection - Unconfirmed Format)

Goethe Institut
IN FACE OF THE CRIME - EPISODE 2
(Video Projection - Unconfirmed Format)

Alliance Française
FOUR BAGS FULL
(Video Projection - Unconfirmed Format)
Introduction by Absinthe film director Chris Buddy

Portage Theater
DIVORCED DUDES
(Video Projection - Unconfirmed Format)
DR. JEKYLL AND MR. HYDE (1922 version; Unconfirmed Format) - presented by the Silent Film Society of Chicago
H.H. HOLMES: AMERICA'S FIRST SERIAL KILLER (Video Projection - Unconfirmed Format)

Chicago History Museum
SILENCE OF THE LAMBS
(Video Projection - Unconfirmed Format)

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CINE-LIST: October 19 – October 25, 2012

MANAGING EDITOR /
Patrick Friel

CONTRIBUTORS / Michael Castelle, Rob Christopher, Jospephine Ferorelli, Jason Halprin, Tristan Johnson, Josh B. Mabe, Jesse Malmed, Ignatiy Vishnevetsky, K.A. Westphal, Candace Wirt, Darnell Witt


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