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, APR. 5 - Thursday, APR. 11 ::

We dedicate this edition of Cine-File to Roger Ebert.

ROGER EBERT (1942-2013)
We at Cine-File are extraordinarily saddened at the passing yesterday of legendary Chicago film critic Roger Ebert. Mr. Ebert was a passionate and vocal advocate for cinema, a remarkable writer, and an example of how film criticism could still be smart, affecting, political, and personal even in a large city daily newspaper and on a shifting series of television programs. Mr. Ebert never forgot his roots and never forgot his early cinema loves. He was the rare popular critic (and no one has ever been as popular) who really knew cinema history. His writing was informed by this knowledge and deep love for classic Hollywood and myriad foreign films. He was a true Chicago critic: feisty, opinionated, unapologetic. He didn't suffer fools, or foolish films. But he was also someone who maintained a humility and humbleness throughout his career. He was approachable. He supported small and independent film venues and series in many ways. He relished new talent—filmmakers and critics both. He had a sharp wit—one that he often turned on himself. He connected directly with his fans and readers via his website, Facebook, and, especially, his Twitter account. In the last few years, after the unimaginable series of cancer occurrences, other medical issues, and surgeries left him unable to speak and severely disfigured, he did not shy away from his problems. He continued to put himself out publicly, challenging people to deal with his appearance, working to de-stigmatize his disease and the drastic repercussions it can have. He also became more vocal politically, using his celebrity to champion causes he believed in, carrying though his uncompromising work as a critic to broader areas of human life. These past several years, since his initial cancer diagnosis and especially since his surgery to remove his lower jaw, are his most triumphant accomplishments. The example of his indomitable spirit, strong work ethic, unabated love for watching, thinking about, and writing about film, and the grace with which he dealt with his misfortunes are inspiring and a legacy worth more than his fame, his Pulitzer Prize, and his many accolades. Rest in peace, Mr. Ebert. And thank you.
—Managing Editor Patrick Friel, on behalf of all of the volunteer contributors at Cine-File



The Nightingale Turns 5! (Special Event/Experimental)
The Nightingale (1084 N. Milwaukee Ave.) - Friday, 8pm
[Since so many of us at Cine-File have direct and intimate connections to The Nightingale, and since this is an appreciation of the space itself rather than a review of the work screening, I have separated this from the main listings in recognition of the inherent conflicts. Though it is, of course, all true!—Ed]
This will be an odd review. It won't really be about the movies being shown so much as it will be about the venue showing them. The movies are all local and all excellent. Included are work by Jodie Mack, Lilli Carré, Alexander Stewart, Cameron Gibson, Lori Felker, Theo Darst, Lauren Alberque, Jessica Bardsley, Latham Zearfoss, Jake Barningham, Ian Curry, Thorne Brandt, Kent Lambert, and Jon Satrom. But the heart of this screening is a celebration of The Nightingale and its wholeheartedly dedicated and adventurously valiant leader Christy LeMaster. She and I started the venue together 5 years ago, but while my vision for the space was essentially a flophouse for a few unwashed friends to watch 16mm Brakhage prints, Christy had a bigger and better plan. A plan that would make The Nightingale a truly essential element of Chicago cinema culture. When an interesting visiting filmmaker comes through town there's no doubt where you'll be going to see their work. Occasionally even bigger name directors (like a Joe Dante or a Michael Almereyda) are smart enough find their way to the corner of Thomas and Milwaukee. Over the past 5 years, there is no other venue in this town where more film and video formats have been screened. There is no other venue in this town where new discoveries can be made so readily. There's no other venue in this town where you can feel so at home. Christy cares deeply about this community and she proves it week after week with her blood and her money and her passion that you are seeing up on that screen that is so fine-tuned technically and so distinctively programmed. At this anniversary, Christy will be handing off the keys to The Nightingale to a new crop of programmers, insuring that the space remains lively and essential. This week, as we celebrate the life of Chicago cinema giant Roger Ebert, we should also take the time to encourage the kind of spaces that create and excite a passion for cinema. (2010-2013, Various Formats) JBM
More info at


Jacques Rivette's LE PONT DU NORD (French Revival)
Gene Siskel Film Center - Friday, 7:45pm, Sunday, 3pm, and Wednesday, 8pm

Two women, a chance connection and two-plus hours of time in which to flesh out the endless possibilities—a task that has been taken on by Jacques Rivette at least twice (and probably more) in his acclaimed career. Though CELINE AND JULIE GO BOATING is the more well known of such films by Rivette, LE PONT DU NORD is it's thought-to-be-lost sibling: Marie and Baptiste, just enough alike to be compatible and just different enough to be relatable, embark upon a city-wide adventure after being enticed by the likes of a mysterious briefcase and its labyrinthine documents. Despite their similarities, CELINE AND JULIE GO BOATING was almost entirely a silly spoof while LE PONT DU NORD tackles a more serious tone. In a recent article for the Village Voice, Scott Foundas remarked that the latter film embraces "the conspiratorial overtones of film noir standing in for Henry James," a hallmark of the former film's absurdist storyline. Much like many of Rivette's films, LE PONT DU NORD is highly improvisational and representative of his democratic filmmaking tendencies; the actresses who play the main characters had a substantial role in developing the script and turning the pre-production material into its extemporized result. Shot on 16mm, the film is also comprised entirely of exterior shots. Some sources say this was a deliberate challenge, while others say that it was merely cost effective. The answer likely lies somewhere in between, because while Rivette may have been conservative with his budget, he certainly never scrimped on quality—or length. (1981, 129 min, New 35mm Print) KK
More info at

Out of the Vault 2013: Meet Mort and Millie (Special Event)
Chicago Film Archives at the Chicago Cultural Center - Sunday, 3pm

Curated by the CFA's Anne Wells and Introduced by SAIC's Amy Beste, this program is exemplary of the curious history of alternative and independent film in Chicago. From its earliest days, filmmaking in Chicago has slipped frequently between design work, industrial and commissioned films, independent documentary, experimental, and many hard-to-classify forms. Filmmakers often moved from one to another with abandon. None more so, perhaps, than Mort and Millie Goldsholl, who studied at the School of Design in Chicago (founded by Bauhaus artist László Moholy-Nagy). In the 1950s and 60s, the Goldsholl's made a wide range of commercials and commissioned educational and industrial films through their Goldsholl Design and Film Associates. They also made their own experimental and animated films. This program pulls examples from both arenas and also includes work by Moholy-Nagy (BLACK WHITE AND GRAY, 1930), their colleague at Goldsholl Design Lawrence Janiak (the really great cameraless film DISINTIGRATION LINE#1, 1960s), and work by filmmakers they admired, Len Lye (RHYTHM, 1957) and Frank and Caroline Mouris (the dizzying Academy Award-winning cut-out animation FRANK FILM, 1973). Work by the Goldsholls includes commercials for Kleenex and Old Milwaukee beer, the commissioned films FIRST IMPRESSION (made for Magazine Publishers Association) and PITTER PATTERNS (made for Science Research Association), and their own independent films NIGHT DRIVING (1957), INTERGALACTIC ZOO (1960s/70s), DISSENT ILLUSION (undated), and the charming UP IS DOWN (1969). This is essential viewing for anyone interested in Chicago's independent film history. The screening will be followed by a panel discussion with Victor Margolin (Professor Emeritus of Design History at UIC), Susan Keig (Designer and former Vice President of Design Department at Goldsholl Design and Film Associates), and Wayne Boyer (Filmmaker and Professor Emeritus at UIC). (1930-73, approx. 83 min total, Video Projection - Unconfirmed Format) PF
More info at

Mary Pickford's SPARROWS (Silent American Revival)
Music Box Theatre - Saturday, Noon 

Describing Mary Pickford as "America's Sweetheart" simultaneously encapsulates the expectations of her vast contemporary public and unfairly diminishes the tonal complexity of her work. At 33, she's a bit too old to play a standard waif and naturally graduates to de facto motherhood in SPARROWS, looking after nine orphan scamps. (Late in the film, there's a bit of comic business when a cop incredulously mistakes her for the kids' biological mother; she made the immaculate conception literal the next year when she appeared in a cameo as the Virgin Mary in husband Douglas Fairbanks's THE GAUCHO.) But it's also Pickford's unblemished matinee image that allowed her to embark on a project as despairing as SPARROWS. In casual tastelessness and unapologetic melodrama, SPARROWS is comparable to last year's Cine-File favorite THE PAPERBOY: alligators menace children and dogs; psychopaths concoct outrageous ransom schemes and barter orphans like hogs; the heroine brandishes a pitchfork to defend her honor; quicksand swallows all. This is Southern Gothic put over at the very highest level, overflowing with a disarming evangelical sincerity. (When Christ himself appears in a dream sequence, we might think to ask, 'What took 'im so long?') As a totally studio-bound rendering of atmospheric backwoods topography, SPARROWS is a clear dress rehearsal for the rustic pictorialism of SUNRISE, which cinematographers Struss and Rosher would shoot later that year. Still, it's Pickford's sensibility that predominates—certainly more so than the defiantly pedestrian William Beaudine, whose directorial credits run to some several hundred titles, including the most successful exploitation film of the 1940s (MOM AND DAD), a clutch of Bowery Boys adventures, and a few genuinely acclaimed silent features (including this one and THE CANADIAN). Beaudine's studied lack of interest in composition and rhythm serve to emphasize the sets and kiddie antics. Live organ accompaniment by Dennis Scott. Introduced by Christel Schmidt, who will sign copies of her new book Mary Pickford: Queen of the Movies following the screening. (1926, 92 min, 35mm) KAW
More info at



Agnes Varda's VAGABOND (French Revival)
Gene Siskel Film Center - Saturday, 3pm and Wednesday, 6pm 

Many feel that not all who wander are lost, but it could equally be said that not all who wander wish to ever find or be found. Some are happy to be forever sans toit ni loi (the film's original French title)—without roof or law. Such is the case of Mona, the protagonist of Agnes Varda's auteurist narrative VAGABOND. The aimless wanderer in question is played by a teenaged Sandrine Bonnaire; her greasy-haired, fresh-faced lack of naïveté brings a decidedly enigmatic element to the film's already elusive structure. The plot accounts for Mona's last weeks before she freezes to death in a ditch, with Varda employing a combination of narrative enactments and documentary-like interviews with those who encountered her before she died. A mysterious narrator voiced by Varda herself declares that no one claimed her body after she died and that she seemed to emanate from the sea; Mona is then seen emerging naked from a cold ocean while two boys admire her from afar. Thus begins the film's overarching point of view, one in which the vagabond is little known and used only as a blank slate onto which her acquaintances project their own expectations and disappointments. Though it opens with Mona's death, the rest of the film is not at all hampered by the inter-film spoilers. She lived just as randomly as she died, and the details of her life just weeks before her demise present another slate onto which the viewers can project their hopes for the seemingly apathetic drifter. Varda's poetic filmmaking encourages the disconnect between the viewers and the characters and even between the characters themselves. Slow tracking shots imitate voyeuristic gaze and first-person interviews reveal some deceit among the fictional subjects. Even Varda's use of nonlinear structuring suggests such discord, as the confusion imitates Mona's mysteriousness. A string-heavy score betrays underlying anxiety, while songs from the The Doors and Les Rita Mitsouko highlight her rebellious nonchalance. The film's disarray comes together to present only one knowable fact about Mona: that no one really knew her or what she wanted to find. (1986, 105 min, 35mm) KK
More info at

Koji Wakamatsu's ECSTASY OF THE ANGELS (Japanese Revival) 
Doc Films (University of Chicago) - Tuesday, 7pm 

Steeped in jazz and heavily influenced by new wave aesthetics, ECSTASY OF THE ANGELS (sometimes translated as ANGELIC ORGASM) explores the tribulations of a battle-weary group of polyamorous Marxist guerrillas as their organization becomes embroiled in dissension and factional warfare.  The film hovers in a De Sadian zone where sex and philosophical disputes are both so copious that we're never quite sure whether the philosophy is a pretext for the sex or vice versa. Ultimately, the film seems to lean in the latter direction—the philosophy is more fleshed out than the sexual politics.  Like De Sade, ECSTASY's characters concern themselves with problems of revolutionary ethics, though the questions they struggle with are more pragmatic than the Marquis' (Is party loyalty important above all else or is there a place for individual autonomy in the revolution? Is sexual attachment compatible with a revolutionary society?) A little campy at times, but interesting stuff for those with a predilection for radical politics and free love raunch. (1972, 89 min, 35mm) ML
More info at

Orson Welles' MACBETH (American Revival) 
Music Box Theatre - Sunday, 11:30am 

The story behind the filming of Orson Welles' MACBETH could be a theatrical farce in and of itself: shot in twenty-three days with sets leftover from studio westerns and cheap rented costumes, it should be more Ed Woods than former-wunderkind-turned-master-director. But the end result only hardly reveals the haphazard production and what's left from the chaos only adds a distinct charm inherent of any Welles creation. Having previously staged an adaptation at 20, Welles took as many liberties with the film version as he did on stage- except instead of casting it with an all-African American lineup, he opted to change some of the key parts that make Macbeth such a revered Shakespeare classic. While such edits would typically be ascribed to artistic license, Welles is perhaps the only director of whom it could be said that such changes were made from a place of artistic equality. Though Welles directed two other Shakespeare adaptations, MACBETH is certainly the most ambitious in terms of vision and execution- while Welles had much of the former, he had little with which to do the latter, and the result is a noirish retelling with dubbed Scottish accents. (1948, 107 min, Restored 35mm Print) KK
More info at

Rodney Ascher's ROOM 237 (New Documentary/Essay) 
Music Box Theatre - Check Venue website for showtimes 

Filmmaker Rodney Ascher's presence is felt only subtly in this documentary exploration of the supposed mysteries contained within Stanley Kubrick's THE SHINING (1980). Instead of making himself a character, Ascher turns his narration over to five SHINING devotees, each with their own idiosyncratic overarching theory of the film's deeper meaning. ROOM 237's narrators are never shown—a wise move since it would expose the cine-savants to our skeptic's gaze—their voices weave in and out over shots of the SHINING, other Kubrick films and stock footage, sometimes seen in slow motion, sometimes paused and digitally zoomed to highlight disturbing details. The overall effect is like an extended artful YouTube conspiracy video, drawing us into the mad minds of its creators. The theories range from the absurd (one narrator's odd insistence that a skier in a poster is actually a minotaur), to the convincing (the genocide of the American Indians as a pervasive theme in THE SHINING), to the beautifully coincidental (poignant juxtapositions when the film is projected over itself backwards), but what (most of the) narrators have in common is a sort of Talmudic faith in the omniscient intentionality of Kubrick—every continuity error, every prop, is analyzed. We don't have to share their Kubrick-deism to be fascinated by the documentary. What ROOM 237 is about, ultimately, is the interaction between audience and art. The architect narrator brings special attention to spatial detail and her analysis, while sometimes farfetched, helps us better understand a film where a building is one of the main characters. In the same way, the holocaust scholar brings a deep knowledge of historical atrocity and if his interpretation is a trifle one-sided, it still helps us to put a film about the violent reverberations of the past into a wider context. Surprisingly, the seemingly contradictory theories only serve to bolster each other, creating as one narrator puts it, a dream-like boiling down of all previous experience. "The power of the genie," he says, describing Kubrick's art, "is in its confinement." Director Ascher will be doing a Skype Q&A at the Friday 7pm screening. (2012, 102 min, Unconfirmed Format) ML
More info at

Werner Herzog's EVEN DWARFS STARTED SMALL (German Revival)  
Doc Films (University of Chicago) - Wednesday, 7 and 9pm 

An odd, essentially plotless film, EVEN DWARFS focuses on a group of people laying siege to an institutional building where one of their friends is being held hostage by an interim supervisor. Herzog shows the viewer a lot of things in the film (blind men playing a bowling game, plants being methodically set aflame, and a van driving itself in circles being some of the most repeated) but it's difficult to tell if there is any content or intention aside from leading the viewer to a state of constantly questioning what it is that they are looking at and why. This lead into uncomfortable viewership is a particular strength of EVEN DWARFS. That the film is cast entirely with dwarves makes it a curiosity, but it also makes it impossible to assume anything else about the universe the film exists within; many reviews say that it's set in a mental institution, but it seems just as likely to be a reform school or a utopian-society-gone-wrong, or another world altogether. Wanton destruction is possible and shocking anywhere, but wanton destruction combined with such strong images make EVEN DWARFS a film worth watching. (1970, 96 min, 35mm) CAM
More info at

Gene Siskel Film Center - Saturday, 7:45pm and Sunday, 5:30pm  

Overshadowed by the brutality of the German Nazi concentration camps, it is a lesser-known fact that thousands of Allied troops were forced to live in similar camps in Imperial Japan during the Second World War. Stuck in the aftermath of the surrender of the Ally-controlled Philippines, thousands of US and British troops were taken captive by the Japanese government, barely surviving on their meager rations and in their dire living conditions. Jan Thompson's world premiere of NEVER THE SAME is the product of two-decades worth of collecting archival footage, prisoner diaries, and interviews; culminating into a piece that celebrates the resolve of the Americans prisoners who survived, pays tribute to those who didn't, and admonishes the atrocities of war. The extremes of humanity are examined by actual footage mixed with recreations and animation that highlights the acts of human violence committed by the Japanese soldiers versus the acts of human persistence and inner strength as seen by the prisoners of war. Haunting images of the emaciated prisoners coupled with stories of torture will surely haunt the mind and remain with the viewer long after the film. Desperate times do not necessarily call for desperate measures, but instead sometimes call for silent and smart methods to survive merciless conditions. If you can get past the light-hearted audio track that may deter some audience members' attentions away from the serious subject matter of the film, one can truly experience the extreme and awesome willpower of the human being when under extreme pressures. Director Jan Thompson in person for both screenings. (2012, 116 min, HDCam Video) SW 
More info at

George Marshall's THE BLUE DAHLIA (American Revival)
Doc Films (University of Chicago) - Monday, 7pm

This entry in the Veronica Lake/Alan Ladd cycle boasts the only original screenplay by film-noir staple Raymond Chandler, albeit heavily censored and finished on a bender while filming was already underway. Ladd stars as a WWII naval bomber, whose postwar return is ruined when he spies his wife making time with the owner of the eponymous nightclub. As dictated by the demands of the genre, she turns up dead, making Ladd the logical suspect. Of course, these things never work out logically. In a sign of Hollywood's ever-fluctuating morality standards, Chandler's original ending was rejected on account of his pinning the murder on a shell-shocked veteran, a conceit that would earn Edward Dmytryk's CROSSFIRE a shower of Oscar nominations the very next year. (1946, 96 min, 35mm) MK
More info at

David Byrne's TRUE STORIES (American Revival) 
Cinema Minima (at Cole's Bar, 2328 N. Milwaukee Ave.) - Sunday, 8pm

It's our preference not to explicitly recommend screenings that we know will be projected from a DVD. But watching TRUE STORIES that way might be oddly appropriate. Among other things, Byrne's film is simultaneously a satire of television and a celebration of television. Two musical numbers specifically appropriate TV. "Wild Wild Life" has various characters lip synching to the song in front of a giant bank of video monitors, which all show a seemingly endless mélange of stock footage. "Love For Sale" is even more direct, featuring Byrne's band Talking Heads interacting with actual 80's era TV commercials before eventually transforming into chocolate-coated, foil-wrapped treats. Byrne's obsession with capturing striking environmental details is perfectly matched with Ed Lachman's cinematography. Visually, TRUE STORIES evokes the shiny pre-fab face of Texas, where money from oil and microelectronics makes everything look new, as well as the dusty, weird Texas, a result of its funky ethnic mix. Yet, at least according to the film's distributor, it was framed for the 1.37:1 aspect ratio. Perfect for TV (which is a good thing, since the DVD isn't letterboxed). (1986, 90min, projected DVD) RC 
More info at

Ines Sommer and Kathy Berger's BENEATH THE BLINDFOLD (New Documentary)
Catholic Theological Union (5416 S. Cornell Ave., Room 210 B & C) - Wednesday, 4 and 7pm

Four victims of torture speak out against its practice worldwide as they come to terms with their past horrors in Sommer and Berger's affecting documentary. Emotionally draining, BENEATH THE BLINDFOLD spares little of the lasting psychological trauma the victims continue to endure. The filmmakers allow their subjects to bluntly tell their stories, lingering in the quiet moments. This full and poignant treatment heightens the resonance of their experiences. Much of the documentary details the victims' need for catharsis, therapy, or both. Blama, a Liberian forced into conflict, captured, and made to drink cleaning fluid, spends his time learning to take care of the hospitalized as recompense for his own time convalescing. Another victim, Hector, performs in a one-man show the stress positions, waterboarding, and electrocution he endured under authoritarian Colombian rule. The film quite clearly comes down hard against the use of torture, following its subjects to anti-war rallies in Chicago and protests at the School of the Americas at Fort Benning. These generic left-wing demonstrations are contextualized and made meaningful: the simple act of arriving is portrayed as a personal victory for Hector and Matilde, a torture victim from Guatemala. BENEATH THE BLINDFOLD is competent but staid, using B-roll where one would expect and expert interviews to broaden the scope of the issue at appropriate times. This largely contributes to the earnestness of the film and keeps the subjects its central focus however, offering a quietly compelling argument for the end of torture. Directors Sommer and in person. (2012, 80 min, Video Projection - Unconfirmed Format) BW
More info here.


Carrie Secrist Gallery (835 W. Washington Blvd.) opens Circle Specre Paper Flame, a one-person show of recent work by Michael Robinson, including his 2012 video CIRCLE IN THE SAND, on Saturday (reception 5-8pm). The show runs through May 11.

Andrew Rafacz Gallery (835 W. Washington Blvd.) opens Psychosexual on Saturday (reception 4-7pm). The show, which includes at least one video work (by former Chicagoan Kirsten Stoltmann), runs through May 25.

Israeli artist Guy Ben-Ner's video Soundtrack is currently on view at Aspect Ratio (119 N Peoria, Unit 3D) through April 26. The gallery has limited hours, check the website for days and times. An opening reception for the artist is on Friday from 6-8pm.

The Museum of Contemporary Photography (Columbia College, 600 S. Michigan Ave.) opens the show Spectator Sports on Thursday, with a 4pm gallery talk with artists Julie Henry, Vesna Pavlovic, and Katja Stuke and a 5pm reception. The show runs through July 3.

PSA Projects (2509 N. Lawndale Ave.) presents Jovencio de la Paz's Chicago Sky Interior, on view Sundays through April 7. Details and screening schedule here.

Akram Zaatari's Tomorrow everything will be alright (Experimental Video Installation) Museum of Contemporary Art - Continuing through May 12
Two ex-lovers send one-line missives to each other in this short work, whereby Zaatari cleverly transforms a typewriter into an analog text message machine. Modern society's usual method of texting back and forth with someone over a cell phone can feel sterile and abstract. You press some colored shapes on a screen, a message is sent into the ether, and, later, your phone buzzes in reply. Zaatari's display, in contrast, is like "watching stiffened insect legs fly up from the oily basket and kick letters onto the page" (to quote Paul Theroux). Seeing red and black ink punching out characters on fibrous paper in extreme closeup gives the teasing back-and-forth conversation a fresh charge. It's also mysteriously, wonderfully expressive; when the machine pauses, to finish a thought or go back to cross out a typo, you sense the mind behind the machine. (2010, 12 min loop, Single-Channel HD Video) RC
More info here


Conversations at the Edge (at the Gene Siskel Film Center) presents An Evening with Rosa Barba (2007-11, approx. 70 min total, Multiple Formats) on Thursday at 6pm, with experimental German-Italian artist Barba in person.

Israeli videomaker and artist Guy Ben-Ner gives a lecture on Wednesday at 7pm at the Logan Center for the Arts (University of Chicago). See the INSTALLATIONS section above for information on his new video work on view. More info here.

Gallery 400 (UIC, 400 S. Peoria) presents A Spectre is Haunting: UIC MFA Thesis Exhibition 3 Screening, featuring work by Liliana Angulo Cortés, Ian Curry, and Daniel Tucker, is on Thursday at 6pm.

The Northwest Chicago Film Society (at the Portage Theater) presents Ida Lupino's 1953 film THE BIGAMIST (80 min, Archival 35mm print) on Wednesday at 7:30pm. Also showing is Robert Clampett's 1941 Daffy Duck cartoon THE HENPECKED DUCK (7 min, 16mm).

The Film Studies Center (University of Chicago) hosts Visions of Scale: Magnification, Duration, Perspective, Projection - Ninth Annual Cinema and Media Studies Graduate Student Conference on Friday (beginning at 10am) and Saturday (beginning at 9:30am). Details and full schedule here.

Chicago Cinema Society at the Patio Theater presents Gianfranco Parolini's 1968 Italian western IF YOU MEET SARTANA, PRAY FOR YOUR DEATH (95 min, 35mm) is on Friday at 10pm; and Miguel Gomes' astonishing 2012 Portuguese film TABU (118 min, DCP Digital Projection) is on Sunday at 2:30pm and Monday at 7:30pm. More info at

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Jazz Film Forum (Unconfirmed Formats), with performances from Doc Severinson, Osie Johnson, Billy Taylor, Georgie Auld, Mary Osborne, Tyree Glenn, and more, on Tuesday at 1 and 7:30pm; and Gordon Douglas' 1964 film ROBIN AND THE 7 HOODS (123 min, 16mm) on Wednesday at 1 and 7:30pm. More info at

Instituto Cervantes of Chicago (31 W. Ohio) presents local filmmaker Silvia Malagrino's 2005 documentary BURNT ORANGES (90 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm, with Malagrino in person. The evening will also include live excerpts from the Chicago Opera Theater's new production of Maria De Buenos Aires by Astor Piazzola.

The Chicago History Museum screens local filmmaker Ethan Bensinger's 2012 documentary REFUGE: STORIES OF THE SELFHELP HOME (60 min, Video Projection - Unconfirmed Format) on Sunday at 1:30pm, with Bensinger and Ed Mazur, President of the Jewish Historical Society and Richard Levy of the University of Illinois at Chicago in person for a post-screening discussion. The film also screens on Thursday at 6pm at the Goethe-Institut Chicago (150 N. Michigan Ave., Suite 200), with Bensinger in person.

The Chicago Latino Film Festival opens on Thursday at AMC River East 21 with Rafa Lara's 2013 Mexican film CINCO DE MAYO: THE BATTLE (125 min, Unconfirmed Format) at 6pm. More info at full festival schedule at

Also at the Gene Siskel Film Center this week: Pier Paolo Pasolini's 1975 provocation SALO, OR THE 120 DAYS OF SODOM (116 min, 35mm) is on Friday and Tuesday at 6pm, with a lecture by SAIC's Mary Patten at the Tuesday show; Jeff Orlowski's 2012 documentary CHASING ICE (80 min, DCP Digital Projection) plays for a week; actress Sandrine Bonnaire's 2007 directorial debut HER NAME IS SABINE (85 min, 35mm) screens on Saturday at 5pm and Thursday at 8:15pm; and Dawn Porter's 2013 documentary GIDEON'S ARMY (95 min, HDCam Video) is on Monday at 6:30pm, with Director Porter, public defender Jeanne Bishop, and Alba Morales of Human Rights Watch in person.

Also at Doc Films (University of Chicago) this week: Arthur Penn's 1967 classic BONNIE AND CLYDE (112 min, 16mm) is on Friday at 7, 9:15, and 11:30pm and Sunday at 1pm; Ben Affleck's 2012 film ARGO (120 min, 35mm) is on Saturday at 7 and 9:15pm and Sunday at 3:15pm; Chris Marker's great 1962 short LA JETEE (28 min, 35mm) and his 2003 essay video REMEMBRANCE OF THINGS TO COME (42 min, DigiBeta) is on Sunday at 7pm; William Wyler's 1953 film ROMAN HOLIDAY (118 min, 35mm) is on Thursday at 7pm; and Peter Hewitt's 1991 film BILL & TED'S BOGUS JOURNEY (93 min, 35mm) is on Thursday at 9:30pm.

Also at the Music Box Theatre this week: Matteo Garrone's 2012 Italian comedy/drama REALITY (116 min, Unconfirmed Format) and Adam Leon's 2012 comedy/drama GIMME THE LOOT (81 min, Unconfirmed Format) both continue; Arthur Marks' 1973 Blacksploitation film DETROIT 9000 (106 min, 35mm) is on Saturday at Midnight; Boris Rodriguez's 2012 film EDDIE: THE SLEEPWALKING CANNIBAL (90 min, Unconfirmed Format) is on Friday and Saturday at Midnight; and Cate Shortland's 2012 drama LORE (109 min, Unconfirmed Format) is in the Saturday and Sunday 11:30am matinee slot.

Chicago Filmmakers presents Yves Sioui Durand's 2011 Canadian aboriginal drama MESNAK (96 min, Video Projection - Unconfirmed Format) on Saturday at 7:30pm at Chicago Filmmakers (5243 N. Clark St.). Co-presented by the First Nations Film and Video Festival. M.T. Silva's 2010 documentary ATOMIC MOM (80 min, Video Projection - Unconfirmed Format) screens on Wednesday at 7:30pm at Columbia College Chicago's Hokin Hall (623 S. Wabash Ave.) as part of the monthly Dyke Delicious series.

Facets Cinémathèque screens Andrew Semans' 2012 film NANCY, PLEASE (84 min, Unconfirmed Format) for a week run; Pietro Francisci's 1963 Italian epic HERCULES, SAMSON & ULYSSES (93 min, Unconfirmed Format) is the Facets Night School film on Saturday at Midnight, with an introduction by Jef Burnham; and Luis Puenzo's 1985 drama THE OFFICIAL STORY (112 min, Unconfirmed Format) is on Sunday at Noon, with an introduction by Chicago Opera Theater's general director Andreas Mitisek and live music from the COT following the film.

Landmark's Century Centre Cinema screens Adam McKay's 2004 film ANCHORMAN: THE LEGEND OF RON BURGUNDY (94 min, Digital Projection - Unconfirmed Format) on Friday and Saturday at Midnight.

The Harold Washington Library Center (Cindy Pritzker Auditorium, 400 S. State St.) screens William Friedkin's 1973 film THE EXORCIST (122 min, DVD Projection) on Tuesday at 6pm.

The Italian Cultural Institute (500 N. Michigan Ave., Suite 1450) screens Susanna Nicchiarelli's 2009 film COSMONAUT (87 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm.

At the Logan Theatre this week: Alan Parker's 1982 film PINK FLOYD THE WALL (95 min) is on Friday, Saturday, and Monday at 11:45; David Anspaugh's 1993 film RUDY (114 min) is on Friday, Saturday, and Monday at 11:15 and Saturday and Sunday at Noon; the Wednesday Rewind film is Eric Weston's 1981 EVILSPEAK (89 min) at 10:30pm; Steve Barron's 1990 film TEENAGE MUTANT NINJA TURTLES (93 min), presented by Chicago's Comic & Entertainment Expo, is on Wednesday at 10pm; and Stephen Frears' 2000 film HIGH FIDELITY (113 min) is on Thursday at 11pm. All Unconfirmed Format.

The DuSable Museum screens Linda Atkinson and Nick Doob's 2005 documentary CARMEN & GEOFFREY (80 min, Video Projection - Unconfirmed Format) on Sunday at 2pm.

UIC (Daley Library Room 1-470) continues its presentation of the Pragda Spanish Film Festival. On Tuesday at 3pm is Pablo Larraín's 2010 film POST MORTEM (98 min, Video Projection - Unconfirmed Format), followed by a roundtable discussion with Carmelo Esterrich (Columbia College), Salomé Skvirsky (UIC, Latino and Latin American Studies program), and Steven Marsh (UIC, Dept. Hispanic and Italian Studies); and on Wednesday at 4pm is Iván Osnovikoff and Bettina Perut's 2011 documentary THE DEATH OF PINOCHET (75 min, Video Projection - Unconfirmed Format).

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

CINE-LIST: April 5 – April 11, 2013

Patrick Friel

CONTRIBUTORS / Rob Christopher, Kat C. Keish, Mike King, Mojo Lorwin, Josh B. Mabe, Chloe A. McLaren, Shealey Wallace, Brian Welesko, Kyle A. Westphal, Darnell Witt

> Editorial Statement -> Contact