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


Joshua Oppenheimer, Christine Cyn, and Anonymous' THE ACT OF KILLING (Documentary/Experimental)
Gene Siskel Film Center - Monday, 6:30pm

Grotesque, absurd, and stunningly strange, THE ACT OF KILLING is a full-bodied treatise on violence, as it's imagined, organized, and performed. One of its directors, Joshua Oppenheimer, spent years working with survivors of political violence in Indonesia and in the process developed a robust frame on the region's terrifying history of paramilitary control. The movie follows a few aging members of one of the country's death squads, the Pancasila Youth—chiefly one man, Anwar Congo—as they live now, enjoying the privilege afforded to victors. Adding a layer to the story, the filmmakers collaborate with the killers to create filmed re-enactments of the murders they committed. Oppenheimer, his collaborator Christine Cyn, along with a rotating cast and crew of Indonesian people, participate in a bizarre creative process. The work required simultaneously engages the history of the murders and evokes rich portraits of the murderers themselves as they conceptualize and perform their own artistic interpretations of their actions. THE ACT OF KILLING is an elusive piece on non-fiction that slips in and out of several realms at once: a conventional doc view of a country whose chaotic government openly colludes with thugs, at times a darkly comic look at the close familial bond of Anwar and his men, and finally a chilling look at how the brutal logic of violence reverberates out into personal, national, and global consequences. Joe Saunders, Deputy Program Director for Human Rights Watch in person. (2012, 116 min, DCP Digital Projection) CL
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Elaine May's ISHTAR: THE DIRECTOR'S CUT (American Revival)
Music Box Theatre - Check Venue website for showtimes

Woe is the big budget comedy that flaunts its eccentricity, its individuality. In that at least it's possible to trace a line from Tati to May. But whereas PLAYTIME was a purposefully complex creation, a vast machinery of comedy writ large, May perversely, stubbornly sticks with the low key, the loosely wound. Rumored to have cost $40-50 million dollars, it's hard to spot most of that money on screen; there aren't any expensive set pieces, a la GHOST BUSTERS. Aside from a famous camel, the comedy derives from the characters. Like many a flop before it, ISHTAR has been more widely derided than actually seen. It's never been released on DVD in the US, but comes now to the Music Box in the "Director's Cut" (according to a publicist, May has tightened up the movie and it's some nine minutes shorter than the theatrical version.). It's also a rare chance to fully appreciate what might be cinematographer Vittorio Storaro's most unlikely assignment. (1987, 104 min, DCP Digital Projection) RC
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Jamaa Fanaka's EMMA MAE (American Revival)
Film Studies Center - University of Chicago (Logan Center for the Arts, 915 E. 60th St.) - Thursday, 7pm

Though later rebranded with the genre-typical title BLACK SISTER'S REVENGE, Jamaa Fanaka's EMMA MAE is a curious film that simultaneously inhibits themes respective to Blacksploitation while also rebelling against the genre's limited scope. The eponymous heroine of Fanaka's student film arrives in Compton, California as an orphan from down south who is initially looked upon with derision by her hipper peers; she earns respect with a knock-em-down attitude that is downplayed by saccharine sweetness and ironic rationality. Her knock-em-down nature is as much literal as it is descriptive—Emma holds her own in various fighting scenes that remain poignant despite their exploitative implications. The story begins when Emma meets Jesse, a local druggie who ropes her into the seedy underbelly of Compton crime. After Jesse is arrested, Emma misdirects her fortitude in order to get Jesse out of jail. Though she paradoxically attempts to raise Jesse's bail money through hard work and keen business acumen, she soon turns to bank robbery after her honest effort is thwarted by institutionalized sexism and racism. The film is rife with such contradictions that lift it out of Blacksploitation territory—Emma is not a vixen in the vein of Foxy Brown or Cleopatra Jones, but an actual country bumpkin whose strength is not tied to her beauty. And while "The Man" is present throughout the film's progression, Fanaka focuses more so on the communal dynamic rather than the societal one. This representation emphasizes the mission of the L.A. Rebellion, which was to facilitate a distinctly Black Cinema that rejected traditional Hollywood Cinema. Also notable are the film's feminist undertones. Emma's romance ends amongst tears—and a serious ass kicking. The emotional strength of Fanaka's film rivals any of its violent or sexual physicality, and its vulnerability overshadows the exploitative trope. Proceeded by Fanaka's first short film, A DAY IN THE LIFE OF WILLIE FAUST, OR DEATH ON THE INSTALLMENT PLAN (1972, 16 min, DigiBeta). Introduced by Sergio Mims, co-founder and co-programmer of Chicago's Black Harvest Film Festival. (1976, 100 min, New 35mm Print) KK
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Best of the Rural Route Film Festival 2012-2013
Chicago Filmmakers - Saturday, 7:30pm

So this recommendation is something of a cheat: I've not seen most of this program, but two of these films are exciting enough to have gone up in the Crucial Viewing section (and if they didn't total five minutes I would have put the show there!) and the two others I've seen are also quite good. The ones that have me all a-buzz are famed ethnographic filmmaker Robert Gardner's (DEAD BIRDS, FOREST OF BLISS) short fragment SALT (2.5 min), which was shot in Ethiopia in 1968 and edited finally in 2011. One of several fragments and unfinished works that Gardner has been "completing" for release in the past couple of years, it's a haunting, impressionistic sketch of collecting salt in the desert. The second film is from the venerable Kentucky production collective Appalshop: the 1977 portrait film GEORGE THOMPSON: STREET CLEANER (2.5 min). We see the eponymous Thompson briefly at his job in Norton, Virginia, then we cut to him on a porch, playing guitar and singing some Appalachian blues. It's rough—the most powerful Appalshop films I've seen have an almost amateur quality that mirrors the outsider nature of the people they document—but a tiny gem. The other two films I've seen are Robert Gardner's later (1997/2011) IT COULD BE GOOD, IT COULD BE BAD (6 min), a striking aerial view of the Chilean Andes, with Gardner and fellow filmmaker (and pilot) Robert Fulton conversing; and West Coast experimental filmmaker Paul Clipson's lovely 2011 film COMPOUND EYES #1 (6 min). Also showing are Audrey Hall's PAINTING JOHN, Mike Hoath's CROSSHAIRS, Chris Thomas' THE WATERS EDGE, Henri Desaunay's SACHA THE BEAR, Jason Shahinfar's A SHORT FILM ABOUT ICE FISHING, Juan Gil Garcia's UN BUEN HIJO, and Marieka Walsh's THE HUNTER (all 2011-12). (1968-2012, approx. 99 min total, Video Projection - Unconfirmed Format) PF
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Melvin Van Peebles's THE STORY OF A THREE-DAY PASS (French Revival)
Block Cinema (Northwestern University) - Friday, 7pm

There are some nice surprises in THE STORY OF A THREE-DAY PASS (known originally as LA PERMISSION), Melvin Van Peebles's low budget first feature about a black American soldier and his three day fling with a French Girl in Normandy. To be clear, the dialogue is hardly written and the lead performance by British/Guyanese Harry Baird as Turner, the American soldier, is pretty awful. Nevertheless, the film manages to remain intriguing and entertaining throughout and, every once in a while, a disarmingly powerful moment emerges from the cheerful facade, a moment where we can feel Turner's nervous excitement, uncertainty, and bitter disappointment as he tries to navigate between a new world of racial acceptance and freedom and the stubborn persistence of white prejudice and black powerlessness. The real strength of the film is in its (bizarre) score and inspired editing, talents that Van Peebles would draw on and expand upon three short years later for his Blacksploitation opus SWEET SWEETBACK'S BAADASSSSS SONG (1971). THREE-DAY PASS has none of the confidence, the outrageousness, or the irony of SWEETBACK, but it has a vulnerability and a piercing honesty that the later film lacks. An illuminating entry in Van Peebles's catalogue, and in the history of the American New Wave. Melvin Van Peebles and NU Associate Professor Thomas Bradshaw in person. Presented in conjunction with CIMMFest. (1968, 87 min, 35mm) ML
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Michaelangelo Antonioni's ZABRISKIE POINT (American Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm

Antonioni most divisive work, his only one in CinemaScope, and a response to the US counterculture of the late 60s, ZABRISKIE POINT is something far different—and more elusive—than the anti-American screed detractors have made it out to be. Like a number of European artists ranging from Franz Kafka in Amerika to Bruno Dumont in TWENTYNINE PALMS (2003), Antonioni regards the United States as something like a poetic construct. Its spirit of debate and varied topography (particularly the Arizona mountain range of the title) elicit sincere awe, while Antonioni reserves his characteristic dread for police and consumer culture. But even this last subject becomes a source of arresting compositions: Early on, there's an eerie montage of billboard ads that's equal parts Pop Art and experimental film; it sets the stage for the final sequence, a series of slow-motion explosions that leaves audiences dead silent. As in L'ECLISSE, Antonioni is contemplating a world taken over by consumer goods, though there are moments of refuge here—namely, the dialogue of student radicals (directed with cinema verité excitement) and blissful communal lovemaking. SAIC professor Mary Patten will introduce the Tuesday screening. (1970, 110 min, 35mm) BS
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Orson Welles' THE LADY FROM SHANGHAI (American Revival)
Music Box Theatre - Saturday and Sunday, 11:30am

Orson Welles famously adapted this noir story on the fly to satisfy contractual obligations. And yet THE LADY FROM SHANGHAI is as inventive as any of Welles' "proper" masterpieces, creating an Expressionist phantasmagoria out of the story's bizarre characters and situations. (One highlight: Welles regular Everett Sloane playing a lawyer, whose crutches give him a machine-like walk, having to interrogate himself in court.) It's also just as personal. If Welles' great theme is, according to Chris Marker, how close we can get to evil, then THE LADY FROM SHANGHAI is no deviation. As Welles' dumb Scotsman finds himself knee-deep in conspiracy, he rationalizes his participation out of love for the alluring woman of the title, played by Rita Hayworth, whom he would soon divorce. (1947, 87 min, 35mm) BS
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Tanner King Barklow and Gil Kofman's UNMADE IN CHINA (New Documentary)
Facets Cinémathèque - Check Venue website for showtimes

You are an American director—given the opportunity to make a thriller surrounding the phenomenon of YouTube blogging. Now imagine being the same director and having to make that same thriller for an entirely non-American audience in China, of having to rewrite the original American script multiple times, of having the same script translated multiple times, of not being able to talk to your crew without the aid of a translator—oh, and your every move is being monitored by Chinese government Communist Party members. Things tend to become little tricky after that. In this Chicago premiere, documentarian Tanner Barklow follows the journey of how American director Gil Kofman had to work under the strict restrictions of the Chinese film industry and the troubles that go along with working under a Communist political system. UNMADE IN CHINA chronicles how a man who knows next to nothing about the culture of China reacts and works around the culture divide. Constantly playing the line between keeping his artistic integrity intact and helping his Chinese crew members keep their jobs, Barklow documents Kofman's tribulations in having to deal with the Chinese government and how to work around the constant subversion inflicted by the Chinese officials: actors fired and new ones hired, script changes, essential crew members are fired without his knowledge, and not being paid are only a few of difficulties the American crew face. Directors Barklow and Kofman keep their film-about-a-film tactful; while Kofman's numerous frustrations with the Chinese management build up into a boycott, American culture is not glorified or embraced. Kofman's own paranoia and insecurities are revealed as honestly as the difficulties in working in a foreign culture, providing the film an overwhelming sense of authenticity as the audience watches how the original thriller script evolves into Kofman's own nightmare and learns exactly how many directors of photography are needed to make a Chinese film. (2012, 90 min, Video Projection - Unconfirmed Format) SW
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Brandon Cronenberg's ANTIVIRAL (New Canadian)
Chicago Cinema Society at the Patio Theater - Friday-Wednesday, check venue website for showtimes

In his first feature, Brandon Cronenberg seems to intentionally provoke comparisons with his father (Canadian auteur David Cronenberg) with a brazenness unseen since Jakob Dylan and "One Headlight." Ironically, it's the non-Cronenbergian parts of ANTIVIRAL that work. In B. Cronenberg's dystopian vision, celebrity devotees consummate their obsessions by injecting viruses that have been harvested from their favorite stars by ominous corporations. A sales agent for one such corporation (Caleb Landry Jones) gets in over his head trying to skim some off the top and things predictably descend into repulsive mayhem. The biological horror essentially rehashes themes and images that the elder Cronenberg did better: the merging of human and machine (THE FLY), the interaction of corporate interests, virtual reality and biology (EXISTENZ), fascination with genital deformity (DEAD RINGERS, NAKED LUNCH). The indictment of celebrity culture, on the other hand, manages to be fresh and unique (no small feat given the topic) and, at the risk of biographical speculation, seems to suggest a personal connection and sympathy with the objectified celebrity class in question. In ANTIVIRAL's world, the news is entirely occupied with celebrities' "ordeals" mostly having to do with intimate parts of their bodies, masochistic virtual celebrities entertain customers in peep show booths and delis serve meat grown from celebrity cells. Landry Jones does his part, lending his character an eccentricity that separates him from the Winston-Smith-organization-man protagonist typical to dystopias. Unfortunately, the satire and the performance are mostly crowded out by a deluge of half-realized metaphors, images, and allegories that don't quite add up. Still, despite its flaws and the anxiety (or strange lack thereof) of influence, the younger Cronenberg clearly possesses some talent, and a unique vision bursting at the seams of the one he inherited. Worth checking out. (2012, 108 min, DCP Digital Projection) ML
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Eric Fleischauer and Jason Lazarus' twohundredfiftysixcolors (Experimental)
Conversations at the Edge (at the Gene Siskel Film Center) - Sunday, 1pm (added screening)

What do Orson Welles and dancing hamsters have in common? Though 'artistic genius' and 'mad rhythm' are also acceptable answers, their obvious connection is one more digital than literal: both are subjects of two of the most famous GIFs of all time—one in which Orson Welles as Charles Foster Kane looks on formidably while clapping and another in which rows of dancing hamsters jam to a melody of squeaky critter voices. Both are also featured in Chicago-based filmmakers Eric Fleischauer and Jason Lazarus' twohundredfiftysixcolors, a film comprised of approximately 3,000 GIFs; its title is the number of colors available in the GIF palette. A wide variety of GIFs are showcased in the film—from cats to 9/11, nothing is sacred in the world of internet irony. The GIFs are arranged by subject matter with no apparent meaning behind the transitions from one subject to the next; also void of any narrative structure or accompanying soundtrack, the film veers from emotionally manipulative tactics to instead present a curated collage of GIFs intended for big-screen consumption. According to various interviews with the filmmakers, they believe that the still-animation process of the GIF is reminiscent of early cinema and that the technological and cultural impacts of the GIF likewise mirror the trajectory of early cinematic progress. The film also reflects on the democratic implications of the GIF, as many of the featured images were given to the filmmakers by friends, colleagues, and online contributors. The crowdsourcing effect represents a new medium in which the work of anonymous creators is continuously transformed into something that is meaningful based on its particular appropriation. A recent article in the Chicago Reader reports that the filmmakers originally intended to record the film on 16mm and instead used videotape when their original idea proved to be too costly, though a 16mm transfer is still in the works. Even with its digital format, the progression from computer screen to big screen reflects an ever-changing dynamic between cinema as it was once known and cinema as it will be. And if you don't like it, well—haters just gonna have to hate. Fleischauer in person. (2013, 97 min, Digital Projection) KK
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Aram Avakian and Bert Stern's JAZZ ON A SUMMER'S DAY (Documentary/Concert Film Revival)
Gene Siskel Film Center - Friday, 8pm and Wednesday, 6pm

Her lips are the reddest red this side of THE RED SHOES; and her teeth, dazzlingly white. Filmed in action at the Newport Jazz Festival, Anita O'Day belts out "Sweet Georgia Brown" and the shot holds on her face for nearly the entire song. How mesmerizing it is just to witness the physical manifestation of her impeccable diction. She seems to bite the end off each syllable. The meaning of the lyrics, even the lyrics themselves, gradually dissolves. This shot, one of the greatest in the history of musical cinema, is the very embodiment of the label "documentary." We're given a privileged vantage point from which to study a musician at work. And it's not the only one either: legends such as Louis Armstrong, Dinah Washington, Chuck Berry, Thelonious Monk, Gerry Mulligan, and George Shearing also appear. A nighttime performance by Mahalia Jackson provides a lovely ending. This was Stern's only foray into feature filmmaking, and what an achievement it is. (1960, 85 min, 35mm) RC
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Chris Marker's A GRIN WITHOUT A CAT (Documentary/Essay Film Revival)
Doc Films (University of Chicago) - Sunday, 7pm

Chris Marker's magnum opus, an epic meditation on the gradual dissolution of the Left after 1967, compiled from decades of personal footage shot around the world, newsreels, and sundry other sources. Though the film is many things at once, a conventional history lesson it is not: The events of 1967-77 (and some additional notes from the late 80s) are presented out of order, arranged under the oblique strategies of Marker's poetic narration and free-associative editing. What emerges is a haunting portrait of the era-as-character, with Marker's characteristic wit often giving way to strong feelings of paranoia and regret. (The film was surely an influence on Adam Curtis' CENTURY OF THE SELF and THE POWER OF NIGHTMARES.) A dense film, certainly, but also a fascinating one, with enough material to chew over for weeks. When the film was first released in the U.S. in 2002, J. Hoberman wrote in the Village Voice, "A GRIN WITHOUT A CAT is a grand immersion...The movie celebrates memory itself—along with the cunning of history, a force that, Marker notes, 'always seems to have more imagination than we do.'" (1977/1993, 180 min, 35mm) BS
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Albert Magnoli's PURPLE RAIN (American Revival)
Logan Theatre - Friday, Saturday, and Monday, 11:45pm

Unbearably campy in its daytime scenes and nearly sublime in the nighttime sequences (Donald Thorin, who shot this, was also the cinematographer on the greatest of all Night Movies, THIEF), PURPLE RAIN, Prince's Albert Magnoli-directed Minneapolis Sound creation myth/excuse-for-concert-footage forms a strange counterpart to UNDER THE CHERRY MOON, the follow-up that screened as part of Facets' Night School series recently. While the little man from Paisley Park remains a cipher—more of an overwrought presence than a star in his own film—Morris Day and Jerome Benton steal the show, gamely embracing the sort of 30s-influenced dialogue humor that would dominate CHERRY MOON. A theory: every generation produces a group of people who could conceivably become classical Studio Era character actors, but only in the 1930s to the 1950s did any of them fully embrace that potential. Day, with his shoulder-twitching cockiness and oversized suits, and Benton, who walks a fine line between straight man and comic foil, join Divine's turn in TROUBLE IN MIND as the finest representatives of that tendency to come along in the 1980s. (1984, 111 min, Unconfirmed Format) IV
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Carrie Secrist Gallery (835 W. Washington Blvd.) continues Circle Spectre Paper Flame, a one-person show of recent work by Michael Robinson, including his 2012 video CIRCLE IN THE SAND, through May 11.

Andrew Rafacz Gallery (835 W. Washington Blvd.) continues Psychosexual through May 25. The show, which includes at least one video work (by former Chicagoan Kirsten Stoltmann).

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.

The Museum of Contemporary Photography (Columbia College, 600 S. Michigan Ave.) continues the show Spectator Sports through July 3.

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.



Columbia College Chicago Television Department presents Lourdes Portillo's 2008 documentary AL MÁS ALLÁ (BEYOND THE BEYOND) (43 min, Unconfirmed Format) on Friday at 6:30pm at Columbia College's Film Row Cinema (1104 S. Wabash, 8th Floor). Portillo in person.

The Museum of Contemporary Photography (Columbia College, 600 S. Michigan Ave.) presents a Screening and Discussion with Brett Kashmere and Lester Munson on Tuesday at 6pm. Filmmaker Kashmere, who has work in MoCP's current exhibit Spectator Sports, will screen excerpts of his work-in-progress FROM DEEP, which "considers professional basketball in connection to wider cultural concerns including race, class, Hip Hop, and youth culture." He will also discuss basketball culture with sports writer and commentator Munson.

Also this week Chicago Filmmakers presents We Are Winning, Don't Forget: Short Works by Jean-Gabriel Périot, with French experimental filmmaker Périot in person. Screening on Wednesday at 7:30pm at Columbia College Chicago (Hokin Hall, 623 S. Wabash Ave.).

The Nightingale (1084 N. Milwaukee Ave.) presents A Walk-Cycle Down Memory Lane: A Selection of Early Stop-Motion Animation Films by Steve Cossman 1998-2004, with filmmaker Cossman in person, on Saturday at 7pm; and on Thursday at 8pm, Canadian author, filmmaker, and game designer Jim Monroe will present Let's Play: An Evening of Artists' Playthroughs of Videogames. The evening will include screenings and performances by: Alfredo Salazar-Caro, Blanche Vivian Villaroughe, Bruno de Figueiredo, Daphny Drucilla Delight David, Jim Munroe, jonCates, Jon Satrom, Kevin Carey, Liz Ryerson, and Robert Yang.

The Black Cinema House (6901 S. Dorchester Ave.), in conjunction with the Chicago Film Archives, presents African Art Dispersed on Saturday at 2pm. The program features RHYTHMS AND IMAGES: IMPRESSIONS FROM THE FIRST FESTIVAL OF AFRICAN ART (1966, 20 min, DVD Projection; showing in a black and white transfer due to severe color fading of the original 16mm print) and Carol Munday Lawrence's 1982 documentary PORTRAIT OF TWO ARTISTS (29 min, DVD Projection). Patric McCoy of Diasporal Rhythms will lead a post-screening discussion. Seating is limited; email to reserve a seat.

The Northwest Chicago Film Society (at the Portage Theater) screens Sam Peckinpah's 1978 film CONVOY (110 min, 35mm) on Wednesday at 7:30pm. Also showing is Dave Fleischer's 1938 Popeye cartoon COPS IS ALWAYS RIGHT (7 min, 16mm).

The Chicago International Movies & Music Festival continues through Sunday at various venues around the city and Evanston. Included are a retrospective of works (and live music by) Melvin Van Peebles, a retrospective of documentary and concerts films on the Rolling Stones, documentary and narrative features and shorts, music videos, and panels and discussions. Complete schedule at

On Tuesday at 7pm, the Fulcrum Point New Music Project, with a 100-piece orchestra, will provide live accompaniment to Ken Russell's 1980 film ALTERED STATES (102 min, Unconfirmed Format) at the Harris Theater for Music and Dance (205 E. Randolph St.). The performance will be followed by a Q&A with the film's composer John Corigliano.

Lincoln Hall (2424 N Lincoln Ave.) screens John Burgess' 2009 music documentary CLOUD CULT: NO ONE SAID IT WOULD BE EASY (98 min, Unconfirmed Format) on Saturday at 10pm; and Martha Coolidge's 1983 film VALLEY GIRL (99 min, Unconfirmed Format) on Sunday at 6pm. The screening will be preceded by a performance of the complete soundtrack by Soundtrack Serenade.

The Empty Bottle (1035 N. Western Ave.) screens THE DEATHWISH VIDEO (Unconfirmed Running Time and Format), which appears to be a skateboarding video, on Saturday at 7pm.

The Den Theatre (1333 N. Milwaukee Ave., 2nd Floor) presents Double Feature: A Stand-Up Comedy & Film Festival on Wednesday at 9pm. The event features unannounced short films alternating with stand-up comedy routines.

The Chicago Latino Film Festival enters its final week, concluding on Thursday. Complete schedule at

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Fred Zinnemann's 1953 film FROM HERE TO ETERNITY (118 min, 35mm) on Wednesday at 1 and 7:30pm. Reid Schultz will lead a discussion of the entire Frank Sinatra film series after the movie. More info at

Also at the Gene Siskel Film Center this week: Peter Getzels and Eduardo López's 2012 documentary HARVEST OF EMPIRE (90 min, HDCam Video) plays for a week. Journalist Juan González, producer Wendy Thompson, and co-director Eduardo López in person at the Friday at 8:15pm screening and Thompson, López, and co-director Peter Getzels in person at the Saturday at 7:45pm screening; Claude Chabrol's 1995 French thriller LA CÉRÉMONIE (112 min, 35mm) is on Saturday at 3pm and Wednesday at 7:45pm and his 1999 film THE COLOR OF LIES (108 min, 35mm) is on Saturday at 5:15pm and Thursday at 6pm; Annemarie Jacir's 2012 Palestinian made drama WHEN I SAW YOU (93 min, DCP Digital Projection) and Larissa Sansour's 2012 short NATION ESTATE (9 min, DCP Digital Projection) screen on Saturday at 8pm and Sunday at 3pm, with Jacir in person at the Saturday screening; and Aseel Mansour's 2011 documentary UNCLE NASHAAT (68 min, HDCam Video) and Norma Marcos' 2012 short ALONE (11 min, DCP Digital Projection) screen on Sunday at 5pm and Thursday at 8:15pm.

Also at Doc Films (University of Chicago) this week: Hal Ashby's 1971 black comedy HAROLD AND MAUDE (91 min, 35mm) is on Friday at 7, 9:15, and 11:30pm and Sunday at 1pm; Carlos Saura's 1976 film CRIA CUERVOS (110 min, 35mm) is on Saturday at 7 and 9:15pm and Sunday at 3:15pm; Charles Vidor's 1946 film GILDA (110, 35mm) is on Monday at 7pm; Susumu Hani's 1968 Japanese erotic drama NANAMI: THE INFERNO OF FIRST LOVE (108 min, 16mm) is on Tuesday at 7pm; Werner Herzog's 1974 film THE ENIGMA OF KASPAR HAUSER (110 min, 35mm) is on Wednesday at 7 and 9:30pm; Billy Wilder's 1954 film SABRINA (113 min, 35mm) is on Thursday at 7pm; and Peter Clifton and Joe Massot's 1976 music documentary THE SONG REMAINS THE SAME (137 min, 35mm) is on Thursday at 9:30pm.

Also at the Music Box Theatre this week: Shane Carruth's 2013 film UPSTREAM COLOR (96 min, DCP Digital Projection) and Rodney Ascher's 2012 film ROOM 237 (102 min, Unconfirmed Format) both continue; CIMMfest presents CIMMpathy for the Stones (Various Video Formats), a series of Rolling Stones documentaries and concert films Friday-Sunday; Jim Sharman's 1975 cult film THE ROCKY HORROR PICTURE SHOW (100 min, 35mm) is on Saturday at Midnight; and Danny Boyle's 1996 film TRAINSPOTTING (94 min, 35mm) is on Friday and Saturday at Midnight.

Block Cinema (Northwestern University) screens Alfred Hitchcock's 1960 film PSYCHO (109 min, 35mm) on Wednesday at 7pm.

Landmark's Century Centre Cinema opens Terrence Malick's 2012 film TO THE WONDER (112 min, Digital Projection - Unconfirmed Format) and Janet Tobias' 2012 documentary NO PLACE ON EARTH (83 min, Digital Projection - Unconfirmed Format); Ron Howard's 1988 fantasy film WILLOW (126 min, Digital Projection - Unconfirmed Format) screens on Friday and Saturday at Midnight.

Also at Chicago Cinema Society at the Patio Theater this week: Todd Berger's 2012 film IT'S A DISASTER (88 min, DCP Digital Projection) screens daily at 7pm; and James Nguyen's 2013 film BIRDEMIC 2: THE RESSURECTION (90 min, DCP Digital Projection) on Thursday at 9pm, with Nguyen in

Also at Facets Cinémathèque this week: the Facets Night School series presents Sam Newfield's 1949 anti-marihuana scare film SHE SHOULDA SAID "NO"! [aka WILD WEED] (70 min, Unconfirmed Format) on Saturday at Midnight, with an introduction by Chris Damen.

Also at the Logan Theatre this week: George Roy Hill's 1977 film SLAP SHOT (123 min, Unconfirmed Format) is on Friday, Saturday, and Monday at 11:15pm; Richard Linklater's 2003 film SCHOOL OF ROCK (108 min, Unconfirmed Format) is on Saturday and Sunday at Noon; the Wednesday Rewind film is John De Hart and James Paradise's 1993/2010 film GET EVEN [originally ROAD TO REVENGE] (99 min, Unconfirmed Format) at 10:30pm; and Franc Roddam's 1979 film QUADROPHENIA (117 min, Unconfirmed Format) is on Thursday at 11pm.

The Chicago Cultural Center screens Jon Shenk's 2011 documentary THE ISLAND PRESIDENT (101 min, Video Projection - Unconfirmed Format) on Saturday at 2pm.

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CINE-LIST: April 19 – April 25, 2013

Patrick Friel

CONTRIBUTORS / Rob Christopher, Kat C. Keish, Christy LeMaster, Mojo Lorwin, Ben Sachs, Ignatiy Vishnevetsky, Shealey Wallace, Darnell Witt

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