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:: Friday, APR. 26 - Thursday, MAY 2 ::


Orson Welles's CONFIDENTIAL REPORT (aka MR. ARKADIN) (European Revival)
Music Box Theatre, Saturday and Sunday, 11:30am

No Welles feature has undergone such a sidelong critical re-evaluation as MR. ARKADIN. Breathlessly declared one of the dozen greatest films of all time by Cahiers du cinema a scant three years after its completion, MR. ARKADIN rarely earns such plaudits nowadays. Thanks to the critical archaeologies of Tim Lucas and Jonathan Rosenbaum, it's now frequently treated as something more than--or, perhaps more accurately, other than--a simple movie. Existing in no less than seven versions across multiple media (a radio play, a novelization of Arkadian provenance, divergent film editions under different titles), MR. ARKADIN is a mysterious object without a fixed identity--a shape-shifting penny-ante conspiracy with no daylight between form and function. (Incidentally, the version being screened by the Music Box, CONFIDENTIAL REPORT, is the European release version that reshuffles the chronology to something resembling a conventional narrative. Stefan Drossler's much-ballyhooed 'Comprehensive' assemblage from 2006, which incorporates scenes and bits from most of the extant ARKADINs, never been printed to 35mm and so, ironically, the most compromised version remains the only one available for theatrical exhibition, at least in America.) But it's reasonable to ask whether ARKADIN's pendulum has swung too far towards self-reflexive analysis. As J. Hoberman has productively pointed out, the film itself is a rich experience with several affinities with the contemporaneous American avant-garde. With its crummy sets, crude dubbing, improvised accents, and expansive editing, MR. ARKADIN is the Welles film that most aggressively challenges the expectations of a paying audience. (Could it conceivably have even had one upon its original release? OTHELLO is similarly bereft of means, but at least it has Shakespeare to fall back on.) Like the work of Jack Smith, Ron Rice, or Stan Brakhage, MR. ARKADIN goads its viewers to ask that incredulous question, "How is this even a movie?"--which is, of course, a suggestive provocation and a necessary return to first principles. (1955, 98 min, 35mm) KAW
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Emad Burnat and Guy Davidi's 5 BROKEN CAMERAS (New Palestinian Documentary) 
Gene Siskel Film Center - Friday, 6:15pm, Saturday, 8pm, and Sunday, 5:15pm

This collaboration between Palestinian farmer turned video journalist Emad Burnat and Israeli documentarian Guy Davidi is a powerful, straightforward piece of agit-prop filmmaking about the encroachment of the West Bank Wall into the Palestinian village of Bil'in and the protest movement that sprung up in response. Burnat initially buys a camera to document the early childhood of his youngest son, but as things escalate in Bil'in and clashes with the Israeli military become a daily occurrence, he turns into the de-facto chronicler of the resistance. Burnat's footage gives us an incredible insider's view into the workings of a grassroots protest movement from its inception to its (partial) victory. "When I film I feel like the camera protects me..." Burnat narrates as he films his brother being carted away in an army vehicle, "but it is an illusion." And indeed, during the five years in which he follows the protests, Burnat's illusion is smashed: he endures beatings, arrests, bullets, and the death of friends. As the title suggests, Burnat's cameras take a beating as well and the filmmakers have chosen to use the camera casualties as a structuring principle for the documentary. This conceit ends up distracting a little from the heart of the story, and there are some other aesthetic missteps as well--in particular, the narration can sometimes veer into cliché. Ultimately though, as a political tool and a portrait of a village joining together in the face of occupation, 5 BROKEN CAMERAS is extremely effective. (2011, 90 min, DigiBeta Video) ML
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John Waters' DESPERATE LIVING (American Revival) 
Music Box Theatre - Friday and Saturday, Midnight

From the film of his monolog JOHN WATERS: THIS FILTHY WORLD: "When I was growing up, 'Art' meant 'dirty,' which is the way it should be as far as I'm concerned." Waters is 67 years old now. Art isn't as dirty as it used to be, and dirt isn't as arty as it should be. DESPERATE LIVING, a Douglas Sirk-style melodrama welded to a Jean Genet rewrite of THE WIZARD OF OZ, is the best kind of arty dirt. It's a comedy. Compare and contrast the genital mutilation scene here with the one in ANTICHRIST, where von Trier plays it straight and uses a great deal more blood. Sure enough, the scene is both harrowing and disgusting. But the spectacle of Mole McHenry removing his/her appendage with the help of pruning shears and a hungry dog in DESPERATE LIVING isn't merely disgusting. It's also in genuinely bad taste. Uniquely bad taste. Which is why, even after decades of witless, raunchy comedies and solemnly bloody torture porn, Waters' masterpiece still makes us feel dirty. God bless the Pope of Trash. (1977, 90 min, 35mm) RC 
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John Ford's THE MAN WHO SHOT LIBERTY VALANCE (American Revival)  
Northwest Chicago Film Society (at the Portage Theater) - Wednesday, 7:30pm

John Ford needs no explanation--he is that great American director who is to the craft what Mount Rushmore is to our country's cultural landscape. And in THE MAN WHO SHOT LIBERTY VALANCE, Ford brings together two of America's most beloved representatives: Jimmy Stewart and John Wayne, those iconic actors whose combined filmography could stand in for most high school history classes. THE MAN WHO SHOT LIBERTY VALANCE is not only an homage to the genre that Ford himself revolutionized, but also a love letter to its stars, whose performances bring to mind roles from their early careers. In the film, Senator Ransom Stoddard (Stewart) and his wife, Hallie, return to their hometown to attend the funeral of their dear friend Tom Doniphon (Wayne). It's revealed through a flashback that Tom was the toughest man in town, who was keen on Hallie but at odds with Ranse; though their political ideologies aligned, their seeming unequivocal views on gun violence caused each to question their morals and their manhood. After Ranse is held up by the notorious outlaw Liberty Valance, he vows revenge through the law. Doniphon knows only Western justice and his love for Hallie, both of which are threatened by Ranse's arrival. They eventually come to respect one another, but their relationship is never one of romanticized camaraderie. Ranse still ultimately disagrees with Tom's trigger-happy disposition, and Tom resents Ranse's way with the ladies. Such disparities reflect the paradox of Ford's film within the context of his prolific career; the genre that he canonized is challenged by Ranse and Tom's philosophical differences. Where Ford seems to be self-questioning, Stewart and Wayne remain as much themselves as ever. Instead this time, Mr. Smith goes to Shinebone and Ringo Kid doesn't get the girl. Shot in black-and-white and on the Paramount sound stages, Ford contrasts his previously-confident recreations of early Western life with a humble perspective of an often-idealized convention. Both Stewart and Wayne were middle-aged, though their characters are supposed to be young men in their heyday. What appears to be lack of continuity adds a surrealist effect to one of the most streamlined genres. Also showing is a production featurette from the 1968 film WILL PENNY (6 min, 16mm). (1962, 123 min, 35mm) KK
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Ken Loach's THE ANGELS' SHARE (New British) 
Gene Siskel Film Center - Check Venue website for showtimes

Director Ken Loach's THE ANGELS' SHARE is an optimistic take on the classic tale of man trying to change. Robbie, a young twenty-something who is sentenced to more than three-hundred hours of community service, is prompted by his partner's pregnancy to become a better man and to leave behind his past life of drugs and long-lasting familial feuds. A visible ever-present scar on Robbie's face ruins any chances for a proper job or even an interview and serves as a constant reminder of the harm he committed in the past and the damage Robbie is capable of doing. Because the setting takes place is Glasgow, Scotland, possible redemption is found in Scotch whisky. Finding a second-chance in the mentorship of his group community service leader, Robbie becomes an amateur whisky specialist and even turns his group of other delinquents into a whisky-tasting club. Hope is not so easily won though, at every turn Robbie is confronted by the revulsion of his partner's family and the violence of an enemy; in his final attempt to make amends and begin anew in London with his new family, Robbie concocts a seemingly impossible scheme to steal a rare whisky bottle going on auction that sends him and his group of assorted criminal friends to Edinburgh. Loach creates a tale that showcases the underside of British society and is as equally as humorous as it is touching and sensitive. Young actor Paul Brannigan gives a highly nuanced performance to the Glaswegian that transforms the character into a conflicted young man who wants to do the right thing, but who doesn't exactly know what that means or how to start. (2012, 101 min, DCP Digital Projection) SW 
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Werner Herzog's HEART OF GLASS (German Revival) 
Doc Films (University of Chicago) - Wednesday, 7 and 9:30pm

This perplexing and eerily beautiful narrative from Herzog's 70s peak begins with one of the best scenes of prophetic vision on celluloid: an apocalyptic montage of wide angle mountainscapes cut with telephoto closeups of lava, clouds and waterfalls, the soundtrack veering all the while from yodeling to psychedelia. The story which follows hovers somewhere between an 18th century German Twin Peaks and Moby Dick with red glass instead of a white whale. The actors, famously, were all hypnotized before every take, which probably accounts for the intensity and the slowness of their performances.  And the film is definitely slow and sleepy, a melodrama at quarter speed. Like much of Herzog's work, it can be read literally, in this case as a somber exploration of the madness and desperation of a people deprived of their economic livelihood, or it can be taken as a kind of poker-faced joke where the actors are being mocked for their preposterous earnestness and we are being mocked for taking them seriously. Like much of Herzog's work, it works fine either way. (1976, 94 min, 35mm) ML
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Chanoch Ze'evi's HITLER'S CHILDREN (New German Documentary)
Gene Siskel Film Center - Friday 8pm, Wednesday, 8:15pm, and Thursday, 6:15pm

Chanoch Ze'evi's documentary HITLER'S CHILDREN explores the inner turmoil a group of Germans personally connected to the atrocities of history, who are unable to escape the burden of being related to high-ranked Nazi officials that ran concentration camps such as Auschwitz or who were second in command to Adolf Hitler. Himmler, Goering, and Goeth are only a selection of the ashamed surnames which burden the cast Ze'evi interviews. Each descendent feels the guilt of the past and deals with it in varying ways; emigration from German society, memoirs that cut ties with Nazi parents, changing family names, and in the most extreme cases, operations to become sterile. Ze'evi orchestrates the perfect mix of intimate interviews and footage of the interviewees' personal lives. While the individual pain of being the grandson of the head commander of Auschwitz or being the daughter and seeing your Nazi father portrayed in SCHINDLER'S LIST is unique only to the cast, universal themes such as redemption, family tension, and undeserved guilt ring true to whomever is watching the film. (2011, 80 min, DCP Digital Projection) SW
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Francis Ford Coppola's THE GODFATHER (American Revival)
Doc Films (University of Chicago) - Friday, 7 and 10:30pm and Sunday, Noon

It's tough (or impossible) to summarize the impact THE GODFATHER has had. So, instead, only three points. Gordon Willis's brilliant cinematography--Rembrandt by way of Manhattan--made it acceptable for studio-made color films to be as shadowy and moody as the black & white noirs had been earlier. Where would classic paranoiac thrillers be without that added palette? Its flowing, epic structure, courtesy of Mario Puzo's screenplay and Coppola's subtle, no-nonsense direction, remains a model of classic storytelling. And finally, because of its amazing critical and commercial success, gangster movies have been continuously in vogue ever since. Utterly disgraceful then that, according to a New York Times article, the original negatives "were so torn up and dirty that they could no longer be run through standard film laboratory printing equipment, and so the only option became a digital, rather than a photochemical, restoration." Luckily Robert A. Harris, working with Willis and Coppola, stepped in to save the day. (1972, 175 min, 35mm) RC
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Stuart Heisler's THE GLASS KEY (American Revival)
Doc Films (University of Chicago) - Monday, 7pm

Similarities to Coen Bros. favorite MILLER'S CROSSING are not at all coincidental in director Stuart Heisler's wild ride of a syndicate thriller, based on Dashiell Hammett's 1931 novel of the same name (previously adapted with George Raft as the lead in 1935). THIS GUN FOR HIRE, released the same year as KEY, seems to get revived more often, but while that movie has Laird Cregar and occasionally flirts with a stark, Jean-Pierre Melville-like hit-man chic, this is by far the most successful, sadistic, and enjoyable Ladd/Lake collaboration. What KEY loses in iconography it more than makes up for with a true-to-its-source cynicism that pushes the boundaries of the Code, and a baker's dozen of wonderful character roles, not least among which are Brian Donleavy and William Bendix at their best (and their best is pretty damn good)--the latter delivering a beating slash come-on to Alan Ladd's lead that's almost as brutal, shocking, and out-of-its-time as Nancy's murder in Lean's OLIVER TWIST. (1942, 85 min, 35mm) JD
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Mel Stuart's WATTSTAX (Documentary Revival)
Music Box Theatre - Wednesday, 7:30pm

Nominally an archival documentary of the Wattstax Music Festival in 1972, the best sequences have nothing to do with the musicians on stage. Yes, there's Isaac Hayes, bedecked in a vest of golden chains, singing a languid version of "Theme from Shaft" to a filled Los Angeles Coliseum. And there's a fire-eyed Rufus Thomas performing "Do the Funky Chicken" before conducting the crowd back to their seats. But these performances act as a platform for a thematic distillation of black identity during the Black Power movement, seven years after the Watts Riots. Between freewheeling concert footage, Stuart (FOUR DAYS IN NOVEMBER, WILLY WONKA AND THE CHOCOLATE FACTORY), or more likely his black cameramen, ventured into Watts to interview its residents about their thoughts on love, the blues, language, style, and life in the neighborhood after the riots. The interviews feel as if they hit each touchstone of stereotypical black culture: a man's afro is preened in a barbershop while another discusses the power of Christ. One particularly gripping and frantically shot sequence features churchgoers brought to tears and delirious convulsions by The Emotions' rendition of "Peace Be Still." At the concert, Stuart's use of the zoom lens isolates women's curves and intricate Black Power handshakes from across the Coliseum, as if studying a new breed with a new language. All this might be unseemly were it not for WATTSTAX's purposed assertion that "Black is Beautiful." It is a refrain heard in Jesse Jackson's recitation of "I Am - Somebody" and rounded by Richard Pryor's withering, humorous critiques of the stereotypes portrayed. Showing as part of the Sound Opinions series, with music critics Greg Kot and Jim DeRogatis in person. (1973, 103 min, Unconfirmed Format) BW
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Agnès Varda's CLÉO FROM 5 TO 7 (French Revival) 
Doc Films (University of Chicago) - Sunday, 7pm

Cléo, a stupid and prodigiously influenced rising pop singer, believes she is dying of stomach cancer, a fear that overwhelms her for the majority of the film's real-time running time and which functions as the movie's primary organizing device. The opening scene features Cléo at a tarot reading (the only scene in color), setting up a kind of aesthetic thesis statement on Varda's part: all of existence, in this work, is intimately orchestrated, choreographed, and meaningful, but, crucially, only for this one moment. The fortune-teller is no mere character but a marker for a structural division that cleaves the entirety of the film. The first two-thirds of it are intensely kinetic--mirrors everywhere, setting up bizarre pseudo-split screens, jump cuts unmotivated by plot or psychological concerns, self-reflexive insertions within the narrative (a song performance, a silent film)--and an effect of this is to make the film's constructed nature unmistakable. As Cléo leaves the tarot reader's apartment, for instance, her footsteps are in perfect synchrony with the nondiegetic music we hear, and in a remarkable move Varda repeats the same shot of her descending stairs multiple times in a row, drawing her film into the orbits of such hyper-controlled avant-garde artworks as Duchamp's Nude Descending a Staircase and Murphy and Léger's 1924 film BALLET MÉCHANIQUE. But after a puzzling encounter with a friend who works as a nude model for sculpture students, Cléo enters a wooded park for the first time and meets a soldier on leave about to return to Algeria. Up until now, the film has been a city-bound labyrinth, filled with confusing and grotesque people, buildings, and images. But in the park and in the company of Antoine (the two share an almost instant connection) the film veers into romance. In a series of lyrical long takes and graceful, unobtrusive stagings, Antoine accompanies her to the hospital where test results await her, findings that she knows may well condemn her to death. And here Varda pulls her most brilliant structural play, for just as Cléo begins to contemplate what the doctor's words mean to her future, the film ends, half an hour early. CLÉO FROM 5 TO 7 thus turns its protagonist's melodramas into the stuff of deepest power, for the ending is not conclusion but a demand that each of us in the audience supply the missing minutes of Cléo's life. Indeed, the final five minutes reveal the formal virtuosity of the preceding scenes to have actually been ruminations on the roles of fate, love, and death, and turn Cléo's silly up-and-coming singer into a chanteuse of modernist melancholy. The ideal screening of this masterpiece would keep the lights low and theatre doors shut two quarter hours after the projectors were silenced, forcing the viewers to dwell in the same tenuous uncertainties that Cléo, freed now from her celluloid prison, no longer needs concern herself with. (1961, 89 min, 35mm) KB 
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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.



The Museum of Contemporary Photography (600 S. Michigan Ave.) presents Video Playlist: Curated by Michael Robinson on Wednesday at 6pm. Robinson will be in person to present his program titled Closed Circuit Sparks, which includes: Lynda Benglis' ENCLOSURE (1973), Miranda July's THE AMATEURIST (1998), his own CAROL ANNE IS DEAD (2008), Laida Lertxundi's CRY WHEN IT HAPPENS (2010, 16mm), Lori Felker's BROKEN NEW 3 (CONSPIRACY) (2012), and Shana Moulton's RESTLESS LEG SAGA (2012). All Video Projection except where noted.

The Nightingale (1084 N. Milwaukee Ave.) presents The Voice's Folds: Films & Videos by Morehshin Allahyari & Michael A. Morris on Saturday at 8pm. Screening are Allahyari's THE ROMANTIC SELF EXILES I (2012), IN THE REALM OF RARE AND ANALOGOUS ACCIDENTS (2013), and RECITATION OF A SOLILOQUY (2012) and Morris' FIRES (2013) and CONFESSORS (2010).

The Film Studies Center (University of Chicago) welcomes filmmaker Charles Burnett on Thursday at 7pm to present the 2007 Director's Cut of his 1983 film MY BROTHER'S WEDDING (82 min, Video Projection). Preceded by A LITTLE OFF MARK (Robert Wheaton, 1986, 9 min, DigiBeta). This event takes place at the Logan Center for the Arts (915 E. 60th St.).

Students from the Microcinema class at the School of the Art Institute have curated three programs taking place this weekend. On Friday at 8pm, Kevin Carey, Selden Paterson, Julie Sabo, and Elise Sydora have organized theEND., described as "a post-apocalyptic rendezvous through a series of digital shorts." This takes place at Mesh (348 N. Ashland Ave., Suite 2-B). On Saturday at 8pm, the program Parked Cinema will take place outdoors at the Hyde Park Art Center (5020 S. Cornell Ave.). The show features a roster of local artists. And on Sunday at 7:30pm, at the Arch3r Ballroom (3012 S. Archer), is In Search Of, curated by Danielle Campbell, Megan Erwin, and Marina Pfenning. Screening are Tony Balko's DIGITALLY MASTERED (2012), Matthias Muller's HOME STORIES (1991), Jesse McLean's REMOTE (2011), Brent Coughenour's IN SEARCH OF LOST TIME (2011), Ben Rivers' TERROR! (2007), Gordon Nelson's THOOTH (2004), and Peter Tscherkassky's OUTER SPACE (1999).

The Chicago Anarchist Film Festival takes place Friday-Sunday. Complete schedule and details here:

The Black Cinema House (6901 S. Dorchester Ave.) screens the 1989 Nova series documentary DESIGN WARS! (50 min, DVD Projection) on Saturday at 4pm, with an introduction by Lee Bey; and on Sunday at 7pm, BCH screens Sara Gomez's 1977 film DE CIERTA MANERA [ONE WAY OR ANOTHER] (78 min, DVD Projection), introduced by Gabe Klinger. Seating for BCH shows is limited; email to reserve a seat.

Tritriangle (1550 N. Milwaukee Ave., 2nd Floor) presents Breathing on Friday at 8pm. Breathing is a one night show of works by members of SAIC's Digital Bodies class. Featuring work by Hiba Ali, Evelin Garza-Luna, HaeJoo Jung, Eunice Kim, Robin McKay, Peter Nichols, SunMin Park, Nathaniel Stone, Liang Su, Sarah Verhoeve, Blanche Vivian Villarouge, Jason Williams, and Darya Zorin; and on Sunday at 9pm is the program Expanded Cinematic, a show of expanded and performative film and media work by Andrew Blanton and Michael A. Morris, Lori Felker, and James Connolly.

Intuit: The Center for Intuitive and Outsider Art presents 14 15 111, an event with live music with video projection by composer/songwriter Daniel Knox and photographer John Atwood, on Thursday at 7pm (also Friday, May 3 at 7pm). 14 15 111 is a suite of music combining live instruments (synth, voice, percussion, two tubas, electric bass, violin, cello and a choir), pre-recorded material, and field recordings (featuring excerpts from Knox's work with The Pushkin Theater in Moscow in 2012), all set to color video projection of footage shot by Atwood.

Chicago Filmmakers presents We Are Winning, Don't Forget: Short Works by Jean-Gabriel Périot on Saturday at 7:30pm at Chicago Filmmakers (5243 N. Clark St.); and Group 312 Films on Wednesday at 7:30pm at Columbia College Chicago (Ferguson Hall, 600 S. Michigan Ave.), featuring work by Chicago filmmakers Kevin B. Chatham, Brian Wyrick, Chris Mann, Richard Syska, Brian Klein, Dave Purdie, Sean Hopp, Steven Tod, Juneer Kibria, and David and Margie Criner. Filmmakers in person.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Alfred Hitchcock's 1943 film SHADOW OF A DOUBT (108 min, 35mm) on Wednesday at 1 and 7:30pm. More info at

The Chicago Cinema Society and the Patio Theater screen Shane Carruth's 2013 film UPSTREAM COLOR (96 min, DCP Digital Projection) for a week's run.

Also at the Gene Siskel Film Center this week: Maurice Pialat's 1983 film A NOS AMOURS (101 min, 35mm) screens on Saturday at 3pm and on Tuesday at 6pm; Régis Wargnier's 1999 film EAST-WEST (121 min, 35mm) is on Saturday at 5pm and Wednesday at 6pm; Susan Youssef's 2011 film HABIBI RASAK KHARBAN (85 min) and Julia Bacha and Rebekah Wingert-Jabi's 2012 short MY NEIGHBORHOOD (25 min; both DCP Digital Projection) are on Sunday at 3pm and Thursday at 8pm, with Suhad Babaa, a member of MY NEIGHBORHOOD's production team, in person at the Thursday screening; Mona Eldaief and Jehane Noujaim's 2012 film RAFEA: SOLAR MAMA (75 min, HDCam Video) is on Monday at 6:30pm, with co-director Eldaief and Liesl Gerntholtz of Human Rights Watch in person; and the 40th Annual Student Academy Awards program of regional winners (approx. 3 hours, Various Formats) is on Tuesday at 6:30pm.

Also at Doc Films (University of Chicago) this week: Steven Spielberg's 2012 film LINCOLN (150 min, 35mm) is on Saturday at 7 and 10pm and Sunday at 3:30pm; Adachi Masao's 1971 film GUSHING PRAYER (72 min, 35mm) is on Tuesday at 7pm; Billy Wilder's 1955 comedy THE SEVEN YEAR ITCH (105 min, 35mm) is on Thursday at 7pm; and Aaron Aites and Audrey Ewell's 2008 music documentary UNTIL THE LIGHT TAKES US (93 min, DVD Projection) is on Thursday at 9:30pm.

Also at the Music Box Theatre this week: Boris Rodriguez's 2012 film EDDIE: THE SLEEPWALKING CANNIBAL (90 min, Unconfirmed Format) and Andrés Wood's 2011 film VIOLETA WENT TO HEAVEN (110 min, Unconfirmed Format) both open; 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; Thaddaeus Scheel's 2013 documentary STUCK (90 min, Unconfirmed Format) screens on Friday at 7pm, with filmmaker and activist Craig Juntunen in person.

Block Cinema (Northwestern University) screens David 'Tosh' Gitonga's 2012 Kenyan film NAIROBI HALF LIFE (96 min, Video Projection - Unconfirmed Format) on Friday at 7pm, with Gitonga in person; and Belmin Söylemez's 2012 Turkish film PRESENT TENSE (110 min, Video Projection - Unconfirmed Format) on Wednesday at 7pm, with Söylemez and writer/producer Hasmet Topaloglu in person.

Facets Cinémathèque screens Juan Andrés Arango's 2012 Colombian/Brazilian/French film LA PLAYA D.C. (90 min, Unconfirmed Format) for a week; and Manoel de Oliveira's 1988 film THE CANNIBALS (98 min, DVD Projection) on Saturday at Midnight in the Facets Night School series. Introduced by Michael Smith.

The Chicago Cultural Center kicks off the Cinema/Chicago international film series with Yang Ya-Che's 2012 Taiwanese film GF*BF (106 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30pm (repeats May 4 at 2pm).

The Goethe Institut (150 North Michigan Ave., Suite 200) screens Arnon Goldfinger's 2011 film THE FLAT (98 min, Video Projection - Unconfirmed Format) on Thursday at 6pm.

The Alliance Française (54 W. Chicago Ave.) screens Bertrand Blier's 1974 film LES VALSEUSES [GOING PLACES] (150 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30pm. This screening will feature a Cinema Slapdown following the film, refereed by Ron Falzone from Columbia College and with two unannounced debaters.

Landmark's Century Centre Cinema screens Gary Goddard's 1987 film MASTERS OF THE UNIVERSE (Digital Projection - Unconfirmed Format) on Friday and Saturday at Midnight.

At the Logan Theatre this week: Martin Scorsese's 1978 concert film THE LAST WALTZ (117 min) is on Friday, Saturday, and Monday at 11:15pm; Stephen Herek's 1992 film THE MIGHTY DUCKS (100 min) is on Friday, Saturday, and Monday at 11:45pm and Saturday and Sunday at Noon; James Bicket's 2011 film DEAR GOD NO! (81 min) is on Sunday at Midnight; the Wednesday Rewind film is Mark Buntzman's 1984 EXTERMINATOR 2 (89 min) at 10:30pm; and Martin Davidson and Stephen Verona's 1974 film THE LORDS OF FLATBUSH (86 min) is on Thursday at 11pm. All Unconfirmed Formats.

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CINE-LIST: April 26 – May 2, 2013

Patrick Friel

CONTRIBUTORS / Kian Bergstrom, Rob Christopher, Jeremy M. Davies, Kat C. Keish, Mojo Lorwin, Shealey Wallace, Brian Welesko, Kyle A. Westphal, Darnell Witt

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