Chicago Guide to Independent and Underground Cinema
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:: Friday, JULY 19 - Thursday, JULY 25 ::


Nicholas Ray's THE LUSTY MEN (American Revival) 
Doc Films (University of Chicago) - Saturday, 7 and 9:15pm

A bare synopsis of THE LUSTY MEN makes it sounds like a standard-issue sports movie: a head-strong wannabe with dreams of fame and fortune, a grizzled veteran itching to get back in the game, a love triangle that threatens everything inside and outside the stadium. Much of the rodeo footage comes from stock shots so poorly integrated that they may as well be kinescope discards. The screenplay is functional and nothing more, chiefly notable for its power to inculcate the audience with the conviction that 'rodeo' is a verb as much as a noun. And yet I know no one who has failed to come away from THE LUSTY MEN reporting anything less than total emotional devastation. THE LUSTY MEN possesses the power to inspire great and unassailable personal devotion. I once hung a lobby card for THE LUSTY MEN in my office and anybody who had ever seen the film remarked upon it automatically. Since the studio has no print of THE LUSTY MEN in circulation and there's still no DVD on the market, I've spent an unhealthy amount of time mentally cataloging the whereabouts of four 35mm prints I know to be extant; the worn-but-watchable 16mm print screened by Doc has its own accumulated history, having been acquired by the student film group decades ago in its first flush of auteurist fervor. I detail all this not for good trivia, but because THE LUSTY MEN itself exudes an anguished fragility. Attribute that to the sensitive direction of Nicholas Ray or the heart-aching performances of Robert Mitchum, Arthur Kennedy, and, yes, Susan Hayward. Either way, it's a movie under perpetual threat of floating away, or perhaps of becoming one with the dirt. Lee Garmes's cinematography, one of the movie's major assets, captures trailer parks and dance halls with an unfussy solidity; they're present-tense ruins for a trio of stubborn ghosts. (1952, 114 min, 16mm) KAW 
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Don Siegel's THE LINEUP (American Revival) 
Northwest Chicago Film Society (at The Patio Theater) - Monday, 7:30pm  

Based on a long-running television series of the same name, Don Siegel's THE LINEUP brings the efficiency of small screen storytelling to the theater—in just under an hour and a half, Siegel presents a multi-faceted crime drama that could also serve as an unconventional yet highly captivating visual tour of San Francisco. At the beginning of this noir, two detectives catch on to an international drug smuggling scheme after one of their colleagues is run over by a getaway car carrying a suitcase of travel souvenirs in which the drugs are hidden. The sullen buddy-cop duo working to avenge one of their own via the inquisitorial system is a tried and true foundation, and Siegel's presentation of such a plot device is so deceptive as to appear mundane. After twenty minutes of standard detective drama, complete with ballistics and a body pulled straight from the water, Siegel shifts focus to the criminals. There is no 'whodunit'—as the detectives identify a watery stiff, their criminal counterparts fly in overhead. At first, the assassin pair seems almost comical. One is a stodgy intellectual type with a fondness for grammar and last words, while his partner is a rough and tumble gangster who can't get a grasp on the subjunctive. The caper wears on, and any semblance of humorous banality is soon overshadowed by the criminal's sociopathy. The unsophisticated thug, known as Dancer and played chillingly by Eli Wallach, kills without remorse, while his disillusioned partner waxes poetic about the morality of criminal thinking. The subtle hints of humanity implied by their quirkiness are squashed by antisocial brutality, bringing the film full circle to Siegel's usual brand of inexplicably brutish violence. Many critics have likened Siegel's filmmaking skills to those of a television director, and while the comparison may be intended disparagingly, it's this unusual artistry that accounts for the film's nuances. Combined with a distinct sense of pacing that usually makes for excellent television, Siegel's seemingly standard crime story is actually a well-organized grab bag of noirish idiosyncrasies. Also thrown into the mix are many wonderful shots of San Francisco, with such on-location realism adding yet another layer to a film already rich with surprising complexity. Preceded by Jules White's 1955 short HOOK A CROOK (Unconfirmed Running Time, 35mm) (1958, 86 min, 35mm) KK
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Luis Bunuel's MEXICAN BUS RIDE (Mexican Revival) 
Doc Films (University of Chicago) - Wednesday, 7pm 

An early example of Bunuel's fascination with delayed gratification, MEXICAN BUS RIDE (SUBIDA AL CIELO in Spanish) follows the tribulations of a young newlywed who must put off the pleasures of his wedding night in order to attend to the dying wishes of his mother. The hurdles in our protagonist's path (births, deaths, farm animals, loose women, a lazy bus driver) are all fairly literal compared to the mysterious obstacles of later Bunuel films such as THE EXTERMINATING ANGEL (1962) and THE DISCREET CHARM OF THE BOURGEOISIE (1972). But if the film is not particularly surreal (with the exception of a dream sequence), it is still jam-packed with Freudian motifs: mothers blend with lovers for instance, and unconscious wishes with happy accidents. Interestingly, a sort of trickster morality that is more Homeric than Catholic begins to make itself felt as the film progresses. It is the strangeness of this ancient morality that gives MEXICAN BUS RIDE a little of that familiar uneasiness, and makes it feel like a Bunuel film. (1952, 74 min, 35mm) ML
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Francis Ford Coppola's RUMBLE FISH (American Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) - Wednesday, 1 and 7:30pm 

Written during production of THE OUTSIDERS and filmed immediately after with much of the same cast and crew, Coppola's lesser-known RUMBLE FISH surpasses his more conventional adaptation of S.E. Hinton's work. Criticized upon release for its heavily stylized and indulgent aesthetic, RUMBLE FISH is nonetheless mesmerizing to watch. Its affected acting and dusty, noirish atmosphere are used to evoke the existential no-man's land of Matt Dillon's Rusty James, a gang leader lost in his older brother's influence and reputation. His brother, The Motorcycle Boy (played by Mickey Rourke), is detached and world-weary from gang life, appearing to the townsfolk as crazy and to Rusty James as something like a mystic. The plot, what little there is, proceeds gently. And the mood of each scene, so carefully crafted, attenuates the action and dialogue. Beautifully shot in black and white—save for the Siamese fighting fish referred to in the title—RUMBLE FISH makes its fading, dusty industrial locale look both recognizable and unfamiliar. The film does not leave us with much substance to grasp, but that seems to be the point. By immersing the audience in rich visuals and music, RUMBLE FISH evokes a sense of timelessness and being lost, beckoning us to go deeper in. (1983, 94 min, 35mm) BW
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Chad Hartigan's THIS IS MARTIN BONNER (New American) 
Facets Cinémathèque — Check Venue website for showtimes

Deceptively simple in plot, filmmaker Chad Hartigan puts together a realistic story that invites a reflection on the meaning of redemption. Titular character Martin Bonner (Paul Eenhoorn) is an expatriate Australian who moved to America for love and stayed for his children when the love turned sour. After being unemployed for nearly three years, Bonner has found a job away from his home state, Maryland, in Nevada as a volunteer coordinator with a religious organization to help rehabilitate former prisoners with the transition from jail life to civilian. Though not Christian himself, after obtaining a case 'of selfishness' that never went away, it is the only job that he can find with his masters in Theology and previous work for the church that sacked him after his marriage's disintegration. Nearly ten minutes into the film, the audience becomes acquainted with Bonner's lonely, yet placated life before the sole opening credit that reminds us that THIS IS MARTIN BONNER; an elderly man who can only read his adult children by phone calls and voicemails, a savvy businessman who resells items online for a side business in addition to the training for a religious organization. Enter Travis (Richmond Arquette), convicted of unintentional manslaughter and out in the world for the first time in twelve years. Kind and unassuming, Travis tries to make up his past mistakes and live a proud and low-profile life. Parallels between the two men become apparent early on; from their self-isolation, authentic personalities, and tilted familial relationships, Martin agrees to become a mentor to Travis. Both find a purpose in the other; Travis helps Martin feel useful whereas Travis receives guidance and a new chance. Hartigan's calm and detailed style allows the trials and growth of the characters to feel authentic and real. The power of the performances nearly outweighs the dead weight, and sometimes extraneous, theme of dissatisfaction with religion. Though the story is simple, the depth and humanity afforded the characters gives the film its strength. (2013, 83 min, Unconfirmed Format) SW
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Sergei Eisenstein's OCTOBER (Silent Soviet Revival)
Doc Films (University of Chicago) - Friday, 7 and 10pm

Eisenstein's retelling of the Bolshevik Revolution in 1917 is a breathtaking piece of silent filmmaking. A swift and sweeping treatment of the struggle between the bourgeois provisional government and the Lenin-led Bolsheviks, OCTOBER recreates events with such ambition that they appear documentary in style. Conversely, the film benefits from the maturation of Eisenstein's theories of the montage—moving from one of locations in STRIKE to one of "intellect" and metaphor. From Senses of Cinema: "The power-mad dandy Kerenskii is intercut with a mechanical peacock and, through multiple exposures, a tank smashes a statue of Napoleon on Kerenskii's desk." Today, these visualizations of metaphor and symbol are so ingrained in the language of film, it is curious to read of Eisenstein's sanctioning by the Party Conference on Cinema for his "bourgeois formalism." Despite this, OCTOBER connects with audiences through its celebratory narrative. Eisenstein evokes a passion in his propaganda held over from the heady time his film depicts. Volunteers massed at the revolution's landmarks—many still standing in renamed Leningrad—to film key battles and events, and this awe adds to the film's intensity. Still raising heart rates decades later, OCTOBER is a landmark in its own right. (1928, 110 min, 16mm) BW
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Hayao Miyazaki's CASTLE IN THE SKY (Japanese/Animation Revival)
Gene Siskel Film Center - Sunday, 4:45pm (English dubbed) and Thursday, 6pm (Subtitled)

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

A happy couple walks through the snow together. The woman playfully throws a bit of snow up at the man. The man's face drops and becomes stern. He hard-packs a snowball. The woman smiles: unaware, adoring, joyful. The man whips a snowball directly into her face. This is a great moment in the history of cinema. It's primal, perfect, crystalline. The music, the performance, the camera, and the editing all work in harmony. It's as graceful as Fred Astaire's "Drum Crazy" performance in EASTER PARADE. It's as forceful as the sequence on the Odessa Steps. Also, right before this scene, Jeff Daniels puts a carrot and two lumps of coal as a snowman's dick and balls instead of his nose and eyes. (1994, 107 min, Digital Projection - Unconfirmed Format) JBM
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Ron Fricke's SAMSARA (New Documentary)
Gene Siskel Film Center - Friday and Saturday, 8pm; Tuesday, 6pm; Thursday, 8:30pm

Cinematographer Ron Fricke has spent over three decades compiling a legacy of exquisitely-lensed examinations of nature, culture, technology, and the inevitable intersection of the three, a study that began with Godfrey Reggio's landmark KOYAANISQATSI, continued on through Fricke's own BARAKA, and now, following a nearly 20 year gestation period, has reemerged with familiar themes and a fresh vantage point in his latest creation, SAMSARA. Shot in 70mm, SAMSARA is a film of spectacular scope; a wondrous world-tour which, like its predecessors, allows us to see that world in a brand new light. It is no surprise then that Fricke returns again and again to the image of the human eye—the most bewitching feature on the trio of dancers in the opening scene, the focal point of the sarcophagus that precedes the title, and the penultimate shot of the film—bookends on a film stuffed full of illusions about the sensation of sight. Most fascinating is how an image so universal as the human eye is continually photographed in various extremes, through makeup and colored-contact lenses, as an ornament fixed on the palm of dancing beauties, and even as the twitching nerve on a synthetic person. There's an uncanny effect to these scenes, particularly one where a performance artist violently reshapes his face with a muddy plaster mixture, and they push the limit to which we can connect with these images that are, at least at their core, still inherently human. But the beauty of it is that Fricke's film doesn't lend itself to any one interpretation, and it encourages viewers to seek out their own connections between the images. It's an astonishing feast for the eyes that's ready to reward active spectators everywhere. (2012, 102 min, 4K DCP Digital Projection) TJ
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Steve James' THE INTERRUPTERS (New Documentary)
Chicago Public Library Legler Branch (115 S. Pulaski Rd.) - Wednesday, 5:30pm (Free Admission)

Steve James (HOOP DREAMS) and Alex Kotlowitz' bleeding-heart slam-dunk migrates the fascinating street-level ethnography of fellow local documentary SCRAPPERS to a new kind of day job: those of Ceasefire's charismatic "Interrupters," a group of reformed reformers entrusted with stopping the spread of violent retribution in Chicago's toughest neighborhoods. Their work is predicated on the analogizing of violence to a communicable disease—a radical epidemiological paradigm which might call into question conventional understandings of both "violence" and "disease"—but the film's success is in convincing the viewer of a different truth: the ability of actual humans to decisively and consciously turn their lives around, in spite of (and not because of) the existing criminal justice system. As James follows three interrupters and their young charges in Englewood, Little Village, and Auburn Gresham over the course of 2009-2010, their role as interventionist anthropologists goes unquestioned onscreen—downplaying the obvious opposition to the two major existing credentialed authorities on urban conflict: the ivory-tower public policy apparatus and the Chicago Police Department. For this powerful and affecting film is also a compelling advertisement for Ceasefire's methodology, which poses as much of a threat to researchers running spatial regressions in air-conditioned offices as it does to the District 008 hair-gel rookies (who could probably use some training in non-violent ideologies themselves). (2011, 125 min, DVD Projection) MC
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Tommy Wiseau's THE ROOM (Cult)
Music Box Theatre - Friday, Midnight

A woman announces, "Well, the results came back - I definitely have breast cancer," and that's the last we ever hear of it. A group of men don tuxedos for no apparent reason and then toss around a football. A drug dealer threatens to kill someone and then disappears for the rest of the movie. Upon awaking, a man picks up a rose from his night table, smells it, and throws it on top of his sleeping girlfriend. A recurring rooftop "exterior" is obviously a studio set, with a backdrop of the San Francisco skyline digitally composited behind the action. Accidental surrealism can be even more potent than the conscious kind, and THE ROOM is some kind of zenith of its type, the equal to anything Ed Wood committed to celluloid. Although what's on screen looks like it cost about $14.99, the actual budget was upwards of $6 million, in part because actor/producer/writer/director Wiseau shot simultaneously in 35mm and HD (supposedly he didn't understand the differences between the two formats). Now the film has become a worthy successor to THE ROCKY HORROR PICTURE SHOW, with enthusiastic fans performing a series of rituals at each screening. Ross Morin, assistant professor of film studies at St. Cloud State University in Minnesota, calls it "one of the most important films of the past decade. Through the complete excess in every area of production, THE ROOM reveals to us just how empty, preposterous and silly the films and television programs we've watched over the past couple of decades have been." (2003, 99 min, 35mm) RC
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The Logan Center for the Arts (915 E. 60th St.) and South Side Projections present Black Panthers in Their Own Words on Friday at 7pm as part of the Revolution on Film: The Black Arts Movement series. Screening are FRED HAMPTON: BLACK PANTERS IN CHICAGO (Videofreex, 1969, 24 min, DVD Projection), BLACK PANTHER (Newsreel, 1969, 14 min, DVD Projection), REPRESSION (Newsreel, 1970, 15 min, DVD Projection), LU PALMER INTERVIEWS ANGELA DAVIS (1972, 18 min, 16mm), and DEAD END STREET? (Leonard M. Henny, 1970, 11 min, 16mm). Billy Che' Brooks, former Deputy Minister of Education for the Illinois chapter of the Black Panther Party, in person.

Black Cinema House (6901 S. Dorchester Ave.) presents Somewhere to Haunt: Patrick Keiller's British Psychogeographic Cinema on Saturday at 8pm. The program, introduced by James Goggin (Graphic Designer, Practise), features Patrick Keiller's 2010 experimental documentary/essay film ROBINSON IN RUINS (101 min). Also showing are excerpts from Robinson's 1994 film LONDON, his 1997 film ROBINSON IN SPACE, and the trailer for ROBINSON IN RUINS. Seating is limited; email to RSVP.

Black Cinema House (across the street from BCH, at 6916 S. Dorchester Ave.) and Chicago Film Archives present Spencer Williams' 1947 race film JUKE JOINT (68 min, DVD Projection) and William Alexander's 1946 musical short THE VANITIES (approx. 10 min, DVD Projection) on Friday at dusk (approx. 8:30pm). [Originally scheduled on 16mm, the films will now be screened from DVD] Free Admission.

The Silent Film Society of Chicago presents George Melford's 1921 silent Rudolph Valentino film THE SHEIK (80 min, Unconfirmed Format) as the first screening in their annual Silent Summer Film Festival at the Des Plaines Theatre (1476 Minor St., Des Plaines, IL) on Friday at 8pm. Live organ accompaniment by Jay Warren; pre-show music by Charles Cameron's Great Lakes Trio at 7:30pm.

Northwest Chicago Film Society (at the Patio Theater) screens Norman Z. McLeod's 1932 film THE MIRACLE MAN (85 min, 35mm) on Wednesday at 7:30pm. Preceded by a to-be-determined short film.

Transistor (3441 N. Broadway Ave.) hosts a retrospective/best-of screening of Group 312 Films on Friday at 7:30pm, featuring a selection of work by the local collective.

Also at the Gene Siskel Film Center this week: Rufus Norris' 2012 UK drama BROKEN (90 min, DCP Digital Projection) and Olivier Assayas' 2012 film SOMETHING IN THE AIR (122 min, DCP Digital Projection) play for a week; Goro Miyazaki's 2011 anime film FROM UP ON POPPY HILL (91 min, DCP Digital Projection) screens on Friday at 6pm and Sunday at 3pm dubbed in English and on Monday at 6pm subtitled; Francis Ford Coppola's 1974 film THE GODFATHER PART II (200 min, 4K DCP Digital Projection) screens on Saturday at 3pm and Wednesday at 6:15pm; Cullen Hoback's 2013 documentary TERMS AND CONDITIONS MAY APPLY (79 min, DCP Digital Projection) is on Saturday at 5:30pm and Tuesday at 8pm, with Hoback in person at the Tuesday show; and Andy Gillies' 2013 film OCONOMOWOC (79 min, DCP Digital Projection) is on Monday at 8pm, with Writer/director/actor/producer Gillies and cinematographer/composer/producer Joe Haas in person.

Also at the Music Box Theatre this week: Nicolas Winding Refn's 2013 film ONLY GOD FORGIVES (90 min) and Sebastián Silva's 2013 comedy CRYSTAL FAIRY (98 min) both open; Giulio Petroni's 1967 Italian western DEATH RIDES A HORSE (114 min, 35mm) is on Saturday and Sunday at 11:30am; Jeff Garlin's 2013 comedy DEALIN' WITH IDIOTS (Unconfirmed Running Time) is also on Saturday and Sunday at 11:30am; the 2013 omnibus horror film V/H/S/2 (96 min) is on Friday and Saturday at Midnight; and Jim Sharman's 1975 cult film THE ROCKY HORROR PICTURE SHOW (100 min, 35mm) is on Saturday at Midnight. All Unconfirmed Formats except where noted.

Chicago Filmmakers (5243 N. Clark St.) screens Gaston Kaboré's classic 1983 film from Burkina Faso WEND KUUNI (75 min, DVD Projection) on Saturday at 7:30pm as part of the Return of Blacklight Cinema Series. Co-Presented by the Black Cinema House.

Also at Facets Cinémathèque this week: Steven C. Miller's 2012 horror film UNDER THE BED (87 min, Unconfirmed Format) is on Saturday at 11pm.

Landmark's Century Centre Cinema opens Ryan Coogler's 2013 film FRUITVALE STATION (90 min) and Dean Parisot's 2013 film RED 2 (116 min); Amir Shervan's 1989 film SAMURAI COP (96 min) is on Friday and Saturday at Midnight; Cameron Crowe's 2000 film ALMOST FAMOUS (122 min) screens on Tuesday at 7pm; and Lucy McDowell's 2013 documentary BORN TO ROYALTY (76 min) screens on Wednesday at 7pm. All Digital Projection - Unconfirmed Format.

The Blue Whiskey Independent Film Festival takes place at the Cutting Hall Performing Arts Center (150 E. Wood St., Palatine, IL) from July 21-28. For more information and complete schedule, visit

On Wednesday at 8pm, Lincoln Hall (2424 N. Lincoln Ave.) hosts saki and Everything is Terrible's comedy/movie event Once in a Lifetime, which features comedians Katie McVay, Natalie Jose, and The Puterbaugh Sisters providing live commentary/heckling over the top of Jorge Montesi's 1996 Lifetime Television movie MOTHER, MAY I SLEEP WITH DANGER? (93 min, Video Projection - Unconfirmed Format).

Also at various Chicago Public Library branches this week: William L. Cochran 2011 drama ENGLEWOOD: THE GROWING PAINS IN CHICAGO (96 min) screens at the North Austin Branch (5724 W. North Ave.) on Monday at 5:30pm; Pamela Sherrod Anderson's 2011 documentary THE CURATORS OF DIXON SCHOOL (80 min) screens at the Douglass Branch (3353 W. 13th St.) on Tuesday at 5:30pm; and Katie Dellamaggiore's 2012 documentary BROOKLYN CASTLE (101 min) screens at the Woodson Regional Branch (9525 S. Halsted St.) on Thursday at 6:30pm. All part of the "Best of the Black Harvest Film Festival" series. All DVD Projection. All free admission.

The Chicago Cultural Center continues the Cinema/Chicago international film series with David Paul Meyer's 2012 South African film YOU LAUGH BUT IT'S TRUE (84 min, Video Projection - Unconfirmed Format) on Saturday at 2pm; and Songyos Sugmakanan's 2011 Thai film THE BILLIONAIRE (131 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30p (repeats July 27). Free admission.

The Logan Square International Film Series at Comfort Station Logan Square (2579 N. Milwaukee Ave.) screens David Winters' 1986 film THRASHIN' (93 min, DVD Projection) on Wednesday at dusk. Free admission.



Co-Prosperity Sphere (3219-21 S. Morgan St.) continues the exhibition Tom Palazzolo Retrospective: Film, Photographs, Paintings, Watercolors & Sculpture through July 21. Featuring video installation, photographs, paintings, sculpture, and previously printed material documenting the long-time local filmmaker and artist's career over the decades. The films AT MAXWELL STREET, LABOR DAY, and I MARRIED A MUNCHKIN will be screening on monitors.



The Portage Theatre remains closed for the foreseeable future.

The Patio Theater will not be doing its own programming during the summer (tentatively resuming sometime in September) due to the excessive costs to repair their air conditioning system. The Northwest Chicago Film Society will be holding its screenings there, however, and additional special events may take place there.

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CINE-LIST: July 19 - July 25, 2013

Patrick Friel

CONTRIBUTORS / Michael Castelle, Rob Christopher, Tristan Johnson, Kat C. Keish, Mojo Lorwin, Josh B. Mabe, Shealey Wallace, Brian Welesko, Kyle A. Westphal, Darnell Witt

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