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:: Friday, MAY 24 - Thursday, MAY 30 ::


Shirley Clarke's PORTRAIT OF JASON (Documentary Revival)
Music Box - Wednesday, 7pm

In 1966, Jason Holliday was a 33-year-old black gigolo and aspiring nightclub headliner, a man of tremendous physical presence and sensuality. Shirley Clarke's fascinating documentary, made over the course of a grueling alcohol-fueled and drug-addled twelve-hour shoot, presents him as a loquacious, charismatic, self-described 'male bitch' projecting a stunning immediacy, as though every aspect of his life, his feelings, his tragedies and achievements is open to us without reservation, and he seemingly has nothing but desire to reveal to the camera the entirety of his history. Clarke filmed him in her apartment with a minimal crew and two 16mm cameras as he reminisced, drank, smoked joints the size of my thigh, and in general ripped into everyone and everything in his life with candor and glee. But the very first words spoken are to reveal that 'Jason Holliday' was not his real name, that he was born instead Aaron Payne, and a mere four minutes into the movie, Holliday announces his ambition in life: 'What I really want to do is what I'm doing now, is to perform.' And so, from the very start, PORTRAIT OF JASON is insistent that we remember all we see here is illusion and fakery. Performance is the major theme of Clarke's film: the performances of Holliday himself, both of the celebrities he impersonates at various points and, more deeply, of the Holliday persona itself; the stories Holliday tells of his employers, friends, lovers, and enemies, all in various crises of identity; the ambiguous presences of the off-screen Clarke and collaborator Carl Lee, whose voices are heard but whose faces are never seen; and that of the film itself, which has been crafted in the most artificial and patently alienating manner. Filled with jarring, out-of-focus compositions, perpetually mobile camerawork, zooming, panning, capturing and losing Holliday's face, PORTRAIT is a film of unparalleled artifice: there's not a moment that doesn't call attention to itself as constructed, as at least somewhat false, as deliberately foreign. Lauren Rabinovitz has claimed that Holliday's work in the film is done 'in order to make himself an object of art,' arguing that the film has two mutually-contradictory end-games in mind, both to endorse and enable Holliday's transmutation of the raw material of his existence into beauty and at the same time to reveal that very transformation to be founded on nothing but an elaborate network of fictions and deceit. His 'self-aware expertise at playing the victim and at manipulating his position,' she writes, 'puts in doubt his role as the unassuming object of the camera's gaze.' Indeed, there's nothing unassuming at all about Holliday. Within the film, he's a figure of almost purely unadulterated assumption: playing with our assumptions about what life as a gay black hustler would mean, playing with the conventions of the documentary form that lead us to assume his stories, his tears, his soul-bearing is all real. The film is incredibly moving throughout, a masterpiece of affective manipulation, and just as strongly is an elaborate self-critique, continually stressing at every turn that nothing we see is unadorned, no story we hear can be trusted, no sob not at the same time a back-handed chuckle. Has Holliday been lying all along? And would that really diminish the power of his words? The central triumph of the film is that it shows truth as something strange to itself, a side-effect of the narratives we concoct to make sense of our lives and a consequence of the incessant self-doubt that at every second threatens to collapse all those narratives into despair. Co-Presented by Reeling: The Chicago LGBT International Film Festival and Black Cinema House. Preceded by a to-be-announced short. (1967, 105 min, Newly Restored 35mm Print) KAB
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Werner Herzog's FITZCARRALDO (German Revival)
Doc Films (University of Chicago) - Wednesday, 10pm
Les Blank's BURDEN OF DREAMS (Documentary Revival)
Chicago Film Archives at Comfort Station Logan Square (2579 N. Milwaukee Ave.) - Tuesday, 7:30pm

Klaus Kinski reprises his role as madman in pursuit of an idée fixe, this time in Werner Herzog's magnificent FITZCARRALDO. Kinski plays Brian Sweeney "Fitzcarraldo" Fitzgerald--an industrialist in turn of the century Amazon--who dreams of building an opulent opera house in Iquitos, Peru to hear the famous tenor Enrico Caruso. To pay for it, Fitzcarraldo engages in a high-risk, high-reward venture to make rubber from an inaccessible parcel of land. To quickly extract it, Fitzcarraldo hires an unruly crew of natives to bring his large steam ship from one river to another, across a steep hill. A story of obsession and force of will, Herzog's film has a mythical quality to it--partly self-spun as Les Blank's equally compelling cinema verité documentary BURDEN OF DREAMS (1982, 95 min, 16mm), released the same year, chronicles the making of the film. Knowing that Herzog used no sets or miniatures, actually raised a steamer with his film crew, battled hostile Amazon natives, and was himself obsessively driven, FITZCARRALDO is rife with meta-textual elements that puts it in a constant and rewarding dialogue with its non-fiction counterpart. Herzog's guerilla filmmaking style, coupled with his own history as a documentary filmmaker, lends FITZCARRALDO a sense of reality, further blurring the distinction between narrative and making-of. All this helps promotes a confluence of personalities: Herzog-cum-Fitzcarraldo (or Herzog-cum-Kinski: see another contextualization in Herzog's own MY BEST FIEND), furthering an apparent conceit that making a film is like hauling a boat over a mountain. (1982, 157 min, 35mm) BW
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Carlos Reygadas' POST TENEBRAS LUX (New Mexican)
Gene Siskel Film Center - Check Venue website for showtimes

Although the telling can be distractingly complex, the story at the center of POST TENEBRAS LUX is simple and familiar: Juan, a wealthy young man, moves his wife and children to a large house in the country, where things turn out less copacetic than he'd planned.  The first thirty minutes of the film are completely stunning: visually gorgeous, disturbing, moving, intriguing.  Director Reygadas expertly manipulates our emotions by juxtaposing the innocence and beauty of Juan's children (played by Reygadas' own children Rut and Eleazar) against the pent-up brutality of their father and the unpredictable carnality of nature.  Thirty minutes in, the film seems to be heading in a sort of art horror direction in the vein of Lars Von Trier's ANTICHRIST (2009) or Robert Altman's IMAGES (1972), an exploration of the terror of isolation and the psychological punishments reserved for those who try to have their Eden in this life.  But then something happens--an ambivalence, perhaps, on the part of the director about the message at the core of his fable--and the film morphs into something looser, lighter and less focused.  The original film continues, but its progress is repeatedly interrupted by another film, a superficial film more akin to Terrence Mallick's pretentious family saga TREE OF LIFE (2011) than any masterpiece of art horror.  It's a shame, because Reygadas had a masterpiece of his own on his hands.  Instead, he ends up with a flawed film, a beautiful attempt, well worth seeing, but as much for what it could have been.
(2012, 115 min, 35mm) ML
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Orson Welles' F FOR FAKE (Documentary Revival) 
Music Box Theatre - Saturday and Sunday, 11:30am

One of the greatest accomplishments of Orson Welles' later period, the documentary/essay film/metafiction F FOR FAKE exists in a category all its own. The organizing subject is forgery, as it plays out in the worlds of art and culture. The figures studied by the film include the famous art forger Elmyr de Hory; Clifford Irving, a journalist infamous for falsifying his stories; and, in some eloquent moments of autobiography, Welles himself. The breathtaking editing design, which builds poetic rhymes and ironies out of the various components, feels at least two decades ahead of its time; the implications created by the juxtapositions (often made between reality and illusion) are consistently profound. As Jonathan Rosenbaum wrote for the Criterion Collection release, "As Finnegans Wake was for Joyce, F FOR FAKE was for Welles a playful repository of public history intertwined with private in-jokes as well as duplicitous meanings, an elaborate blend of sense and nonsense that carries us along regardless of what's actually being said. For someone whose public and private identities became so separate that they wound up operating routinely in separate households and sometimes on separate continents, exposure and concealment sometimes figured as reverse sides of the same coin, and Welles's desire to hide inside his own text here becomes a special kind of narcissism." (1975, 87 min, 35mm) BS
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Agnès Varda's JACQUOT DE NANTES (French Revival)
Doc Films (University of Chicago) - Sunday, 7pm

Made just before and after Jacques Demy's death in 1990, Agnes Varda's film about her beloved husband is a touching tribute to the late filmmaker using the perspective of his childhood in Occupied France during World War II. Despite the obvious horrors of life during wartime, Varda, with the help of Demy himself, portrays his childhood as having been a happy one, filled with experiences that would later influence his effervescent style of filmmaking and storytelling. Scenes based on memories from Demy's childhood are intercut with interview footage on which the reenactments are based and scenes from the films inspired by his early artistic interests; the result is a straightforward account of the happy childhood that gave way to an equally fulfilling career. The primarily black-and-white representation of his youth is sporadically pierced with brief interludes of colorful footage, a technique that merges Varda's sense of refinement with Demy's playfulness. His whimsy and her pragmatism work together in a way that must be reflective of their 28-year marriage, as their mutual respect is evident in this joint effort. Varda tastefully combines their polarizing aesthetics, and the assembled production is one that depicts Demy not as a man, but as a movie-maker. That his career is so closely paralleled with his childhood reflects Demy's lifelong enthusiasm for the artform that makes dreams a reality. (1991, 118 min, 35mm) KK
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Akira Boch's THE CRUMBLES (Asian American Showcase)
Gene Siskel Film Center - Friday, 8pm and Monday, 3pm

A light-hearted film that focuses on the enthusiasm and freedom of the 'twenty-something' demographic, filmmaker Akira Bosch presents a tale of an aspiring musician unfulfilled by her current life. The film's star, a part-time bookstore employee known as 'Dar' (Katie Hipol), has the dream of living off of her music but who can't seem to take the initiative to follow through on her own. Enter Elisa (Teresa Lee), who has come back to L.A. after a blowing out with her boyfriend that resulted in her burning down his apartment. A natural partier who takes full advantage of her high tolerance level, the fellow musician becomes a foil to the settled ways of Dar. Vivacious and total 'rock-and-roll', Elisa uses time freeloading at Dar's house to help catalyse Dar's dream on becoming a proper musician. Dar, Elisa, and mutual friend Dante (Jeff Torres) unite and call their new band 'The Crumbles' and spend their nights practicing, drinking, and planning for when they 'make it'. Before the band can battle critics or even have a proper gig, inner turmoil halts all progress; free-spirited Elisa proves to be too much for straight-edge and serious Dar, potential love between Dante and Dar further slow the band's momentum. Heartache, awkward kisses, the breaking and reaffirmation of friendships--navigating life between dreams and reality is difficult. Bruised from the falls and U-turns from the path of following their dreams, the characters evolve and become stronger individuals. Following the film's theme of 'indie' music and rock-and-roll lifestyle, Director Bosch selected a cast of no-names and musicians rather than experienced actors--a decision that adds a level of authenticity. Proudly shot on a Canon Rebel T2i, edited in someone's garage, and from the aid of countless friends, Bosch makes the most of limited resources that matches DIY lifestyle of the film's characters. THE CRUMBLES is a twenty-something's dream life: a low-key job, an abundance of booze and friends with enough time to follow one's art practice, Bosch's film explores how the inner-problems are most often more damaging to the lift-off of a dream than other competition or outside criticism. Akira Boch in person at the Friday show. (2012, 75 min, HDCam Video) SRW
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John Huston's THE MISFITS (American Revival)
Doc Films (University of Chicago) - Thursday, 7pm

At the time of its release, THE MISFITS was the most photographed movie shoot to date, drawing international attention for the presence of Montgomery Clift, Clark Gable, and Marilyn Monroe, married at the time to Arthur Miller, who wrote the film's screenplay. (The production photos, which were exhibited several years ago at the Chicago Cultural Center, are in some ways more interesting than the movie itself.) It would be remarkable if the film transcended the aura anticipating it--or following it, since it marked the final screen appearances of Gable and Monroe and is now popularly regarded as something of a wake for classic Hollywood--but THE MISFITS simply isn't that great. This is largely a result of Miller's schematic script, an allegory about old-time cowboys forced to bring horses to a slaughterhouse that makes dog food. John Huston's direction here, though, is uncharacteristically sensitive, and his cast--which also features two of the best actors of this period, Thelma Ritter and Eli Wallach--is exceptional. Also adding to the film's particular spell is the black-and-white photography, shot by the great Russell Metty, who was Douglas Sirk's regular cinematographer in the 50s. His images alone make this big-screen revival most welcome. (1961, 124 min, 35mm) BS
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Danièle Wilmouth's ELEANOR & THE TIMEKEEPER (Documentary)
Bodies of Work Festival of Disability Arts and Culture at the Museum of Contemporary Art - Saturday, Noon (Free with museum admission)

This beautifully-lensed and patient documentary by local filmmaker Danièle Wilmouth is set in rural Pennsylvania. Eleanore is the matriarch of Wilmouth's family (her grandmother) and the timekeeper is Ronnie, her developmentally disabled adult son (Wilmouth's uncle). As Eleanore has cared for Ronnie for over 60 years, their lives have become a quiet dance of routine and companionship, until Eleanore's failing health requires her to seek other ways to make sure Ronnie is cared for after her death. Wilmouth tells the story gracefully and doesn't push her subjects to talk about how they are handling the change. Rather, her camera focuses in on the tiny details of small town living. A moving portrait of separation and mortality, ELEANORE gracefully displays the heart-wrenching sadness of losing your other half. Wilmouth in person. (2010, 76 min, Video Projection - Unconfirmed Format) CL
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Wim Wenders' WINGS OF DESIRE (German Revival) 
Logan Theatre - Thursday, 11pm

In 1971, Wim Wenders and other luminaries of New German Cinema (including Rainer Werner Fassbinder, Werner Herzog, and Alexander Kluge) founded the famous Filmverlag der Autoren to produce and distribute their own films, and Wenders and Austrian novelist and playwright Peter Handke completed their first feature film collaboration, THE GOALIE'S ANXIETY AT THE PENALTY KICK (1971). Nearly twenty years later, they co-wrote WINGS OF DESIRE, a beautiful film in the tradition of the German fairytale and dedicated to the angels and to master directors Yasujiro Ozu, François Truffaut, and Andrei Tarkovsky. Wenders tells the story of an angel, Damiel (Bruno Ganz), falling in love with trapeze artist Marion (Solveig Dommartin), who flies through the air at the Circus Alekan (named in honor of the film's cinematographer, Henri Alekan). Damiel fervently desires to abandon his spiritual existence to become a human being and experience the pleasures and pains of life, particularly that of love, which can be both. He and the other angels experience the world in black and white, but Wenders uses bursts of color to indicate the magnificent difference in the way humans see it. WINGS OF DESIRE is also an ode to Berlin, recalling the city films of the early twentieth century, such as Walter Ruttmann's BERLIN: SYMPHONY OF A GREAT CITY (1927) and Dziga Vertov's MAN WITH THE MOVIE CAMERA (1929). The original German title is DER HIMMEL UBER BERLIN, meaning The Sky, or Heaven, over Berlin. Wenders begins shooting the city from an angel's point of view in the sky, and his camera later descends to the streets, looking at or out of cars, buses, and trains. He concerns himself with Berlin's history and the stories of its people, particularly since World War II.  Recurring shots of the Berlin Wall covered in decorative graffiti figure prominently as does old war footage of air raids and of the victims they claimed lying amidst the rubble. Ultimately, WINGS OF DESIRE is a story about time--as longed for by angels, as lived by Berliners, and as experienced by us in watching the film unfold. (1987, 128 min, Unconfirmed Format) CW
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Jane Campion's BRIGHT STAR (Contemporary International)
The Logan Square International Film Series at Comfort Station Logan Square (2579 N. Milwaukee Ave.) - Wednesday, Dusk (Outdoors)

Jane Campion returned to feature-length film after six fallow years with a work, at first glance, most unlike its perverse and steamy predecessor, IN THE CUT.  BRIGHT STAR may be her sweetest and simplest film, but it gives up none of the ground she gained in mapping people's private motivations. These two works are apposite in Campion's world, making clear that regardless of whether her characters have sex, or whether she depicts it, her interest is in the knotty impulses of desire and fear, not strictly in where they lead. One striking feature that sets BRIGHT STAR apart from IN THE CUT (and earlier films like SWEETIE and THE PORTRAIT OF A LADY) is the clarity of both characters' desire; as Fanny Brawne and the poet John Keats grow to love each other we don't lose sight of her petty vanities or his meek submission to the will of his friends, but we can also see that their love is tender and direct. Campion's attunement to history accounts for some of this; in England in the early 19th century social manners had nowhere near the repressive intensity they would fifty years later under Victoria. Keats and the Brawnes are bound to their circumstances by money worries in an uncertain economy, but Fanny's dresses are uncorseted: she makes many of her own intimate decisions, and propriety is only one consideration. Both young lovers speak and move freely through the charmed time they spend together. BRIGHT STAR's world and language are plausible, but more than that they are intoxicating. When the final letter inevitably arrives, Fanny's loud, desolate sobs shake you awake and give you a real moment of grief. (2009, 119 min, DVD Projection) JF
More info here.

Richard Donner's THE GOONIES (American Revival)
Logan Theatre - Saturday, 11:30pm

The retreat into infantile adventure as a way to resolve genuine economic problems is a hallmark of the early Spielbergian oeuvre, and Richard Donner's autumnal 2.35:1 children's epic (bankrolled by Spielberg) is no exception. The middle-class gifted children of drizzly seaside Astoria, Oregon, facing eviction of their families by an expanding preppie country club, are inspired by their region's poorly-documented colonial past to literally descend deep into the earth to recover an entombed bounty of pre-fiat riches. Pursued by a small, villainous Italian-American crime family unconsciously preserving the tricks of the pirate trade (robbery, counterfeiting, murder), our perpetually-yelling heroes combine their scholastic talents (mechanical engineering, Spanish proficiency, and sight- reading) to linearly "complete" a variety of video-game-adaptation-ready action sequences and save their steep, hilly neighborhood from becoming what would have been the Pacific Northwest's shittiest golf course. Millions of the film's original viewers, by contrast, would in fact ultimately lose their homes in this decade's housing bubble. (1985, 114 min, Unconfirmed Format) MC
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John Hughes' FERRIS BUELLER'S DAY OFF (American Revival) 
Logan Theatre - Sunday, 11:30pm

John Hughes' FERRIS BUELLER'S DAY OFF is a picaresque tale about a confident young man doing what he can to postpone adulthood. In a performance that made him a bonafide leading man at the age of 23, Matthew Broderick creates a character so clever and charming that you can't help but root for him. Beginning with a little white lie about a serious illness to get a final day off before going to college, Ferris schemes to cheer up his best friend Cameron with a VIP tour of the city. Wrigley Field, the Art Institute, Michigan Avenue, and the Sears Tower ("I think I see my dad") are the backdrop for the greatest senior ditch day ever put on film. Its enduring appeal lies in the subplot, however, in which the evil dean of students, Edward Rooney (Jeffery Jones), vows to catch Ferris in the act and force him to repeat his senior year. In the film that not only taught countless youngsters how to properly play sick, but also showcased our city as the playground for Broderick's under stimulated Northshore slacker, there are moments of cinematic greatness. (1986, 103 min, Unconfirmed Format) JH
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The Black Cinema House (6901 S. Dorchester Ave.) presents Movies Under the Stars: Blues Films on Friday at dusk (about 8:15pm). This screening takes place at 6916 S. Dorchester Ave. (across the street from Black Cinema House) and is presented with Chicago Film Archives. Screening are THE BLUES (Samuel Charters, 1973, 20 min, 16mm), GIVE MY POOR HEART EASE: MISSISSIPPI DELTA BLUESMEN (Bill Ferris, 1975, 21 min, 16mm), and AMERICAN SHOESHINE (Sparky Greene, 1976, 29 min, 16mm); and on Saturday at 3pm is Billy Woodberry Screening and Discussion. The L.A. Rebellion filmmaker (who is also showing his classic film BLESS THEIR LITTLE HEARTS at the U of C's Film Studies Center) will show and discuss selections from his 2004 video installation The Architect, the Ants, and the Bees. Both free admission. Seating is limited; email to RSVP.

Gallery 400 (UIC, 400 S. Peoria) presents Loophole Limbo on Wednesday at 7pm. Curated by the Video Data Bank's Abina Manning, the screening includes Dara Birnbaum's TECHNOLOGY/TRANSFORMATION: WONDER WOMAN (1978, 6 min), Vito Acconci's PRYINGS (1971, 16 min), Anne McGuire's ALL SMILES AND SADNESS (1999, 7 min), Tom Rubnitz's PICKLE SURPRISE Pickle Surprise, (1989, 2 min) and STRAWBERRY SHORTCUT (1984, 1 min), Laurie Jo Reynolds' SPACE GHOST (2007, 26 min), and Bjørn Melhus' NO SUNSHINE (1997, 6 min). Free admission.

Also at the Northwest Chicago Film Society this week: Douglas Sirk's 1953 melodrama ALL I DESIRE (79 min, 35mm) screens at the Patio Theater on Monday at 8pm. Preceded by Dave Fleischer's 1934 cartoon BETTY BOOP'S PRIZE SHOW (7 min, 16mm).

The Film Studies Center (University of Chicago; at the Logan Center for the Arts, 915 E. 60th St.) presents two programs in the ongoing L.A. Rebellion series: Billy Woodbury's BLESS THEIR LITTLE HEARTS (Newly Restored 35mm Print) on Saturday at 7pm, with Woodbury in person. Preceded by Woodbury's 1984 short THE POCKETBOOK (13 min, Newly Restored 35mm Print); and Shorts Program 4 on Thursday at 7pm. Screening are A DIFFERENT IMAGE (Alile Sharon Larkin, 1982, 51 min, 16mm), CYCLES (Zeinabu irene Davis, 1989, 17 min, Video Projection), GREY AREA (Monona Wali, 1981, 38 min, 16mm), BELLYDANCING: A HISTORY & AN ART (Alicia Dhanifu, 1979, 22 min, Video Projection), and FESTIVAL OF MASK (Don Amis, 1982, 25 min, Video Projection), with Monona Wali in person. Both free admission.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Alfred Hitchcock's 1946 film NOTORIOUS (101 min, 35mm) on Wednesday at 1 and 7:30pm. Independent filmmaker Reid Schultz will discuss the entire Alfred Hitchcock film series after each screening. Free admission. More info at

The Bodies of Work Festival of Disability Arts and Culture presents several screenings as part of the festival. This week includes 4 Films by Stephen Dwoskin screening on Saturday at the Museum of Contemporary Art. Dwoskin, who died last year, was a prominent figure in the UK experimental and alternative film community, but is little known in the U.S. (the MCA curator and yours truly think this is the first screening of his work in Chicago in about two decades, so this is a rare chance to see a sampling of his work). Screening are PAIN IS... (1997, 80 min, 16mm; 2pm), AGE IS... (75 min, 2012, Digital File; 3:30pm), BEHINDERT (1974, 96 min, DVD Projection; 5pm), and BALLET BLACK (1986, 86 min, 16mm; 7pm). Free with museum admission. Also showing is ELEANOR AND THE TIMEKEEPER (see Also Recommended above). More info at and

Chicago Filmmakers presents The Lone Funmen: An Evening with DimeStore Films on Friday at 7pm (at Chicago Filmmakers, 5243 N. Clark St.). This BYOB "movie party" is a fundraiser for DimeStore Films' upcoming feature and will include a selection of the group's earlier shorts; and on Saturday at 7:30m (also at CF) it's Mike Bernard and Gavin Froome's 2012 documentary COAST MODERN (56 min, Video Projection - Unconfirmed Format).

Also at the Gene Siskel Film Center this week: Dustin Hoffman's 201 film QUARTET (98 min, 35mm) and Jeremy Frindel's 2012 documentary ONE TRACK HEART: THE STORY OF KRISHNA DAS (72 min, DCP Digital Projection) both play for a week; and the Asian American Showcase includes Nadine Truong's 2013 film SOMEONE I USED TO KNOW (81 min, HDCam Video; Saturday, 8pm and Wednesday, 6pm, with Truong and actor Brian Yang in person at the Saturday show), Alicia Dwyer's 2012 documentary XMAS WITHOUT CHINA (63 min, HDCam Video; Sunday, 3pm and Tuesday, 6pm) screens with local filmmaker Tatsu Aoki's 2013 short THE ESCAPE (30 min, Mini-DV Video), with XMAS producer Tom Xia tentatively in person at the Saturday show and Aoki in person at both, and Ernsto Foronda and Silas Howard's 2012 film SUNSET STORIES (90 min, HDCam Video; Sunday, 5:15pm and Thursday, 6pm).

Also at Doc Films (University of Chicago) this week: Martin Scorsese's 1976 film TAXI DRIVER (113 min, 35mm) is on Friday at 7 and 9:15pm and Sunday at 1pm; Steven Soderbergh's 2013 film SIDE EFFECTS (106 min, 35mm) is on Saturday at 7 and 9pm and Sunday at 3:15pm; Terayama Shuji's 1974 Japanese film PASTORAL: HIDE AND SEEK (104 min, 35mm) is on Tuesday at 7pm; Isaac Ottoni Wilhelm and Allison Radomski's 2012 documentary AMERICAN DINER (100 min, DVD Projection) is on Tuesday at 9:15pm; and Penelope Spheeris' 1992 film WAYNE'S WORLD (94 min, 35mm) is on Thursday at 9:30pm.

Also at the Music Box Theatre this week: Fred C. Newmeyer and Sam Taylor's 1923 Harold Lloyd silent comedy classic SAFETY LAST (70 min, DCP Digital Projection) opens in a new digital restoration. Live organ accompaniment by Dennis Scott on Saturday; and Ruggero Deodato's 1980 horror film CANNIBAL HOLOCAUST (95 min, 35mm) is on Friday and Saturday at Midnight.

Block Cinema (Northwestern University) presents a sneak preview of Chris Galletta's 2013 film THE KINGS OF SUMMER (93 min, 35mm) on Wednesday at 7pm. Free admission.

Facets Cinémathèque screens Bryan Wizemann's 2012 film ABOUT SUNNY (103 min, Unconfirmed Format) for a week; and the Chicago Latino Reel Film Club presents Marcelo Ferrari's 2011 Chilean film BOMBAL (81 min, Unconfirmed Format) on Tuesday at 7pm (reception at 6pm). Tickets for BOMBAL are only available from, or call (312) 431-1330 for more information.

Landmark's Century Centre Cinema screens Ben Stiller's 2001 film ZOOLANDER (89 min, Digital Projection - Unconfirmed Format) on Friday and Saturday at Midnight.

On Saturday at 7pm, The Whistler (2421 N. Milwaukee Ave.) presents Odd Obsession Foreign Film Series w/ Impala Sound Champion DJs, which features William Klein's 1966 film WHO ARE YOU, POLLY MAGGOO? (101 min, DVD Projection). The screening is followed by a DJ set by Impala Sound Champions.

Also at the Logan Theatre this week: David Wain's 2001 film WET HOT AMERICAN SUMMER (97 min, Unconfirmed Format) is on Friday at 11:30pm.

The Chicago Cultural Center continues the Cinema/Chicago international film series with Juliusz Machulski's 2008 Polish film HOW MUCH DOES THE TROJAN HORSE WEIGH? (117 min, Video Projection - Unconfirmed Format) on Saturday at 2pm; and Ivan Cotroneo's 2011 Italian film KRYPTONITE! (98 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30pm (repeats June 1).

The Patio Theater screens Danny DeVito's 1996 family film MATILDA (102 min, Unconfirmed Format) on Saturday and Sunday at 1pm.

Also at the Portage Theater this week is a quadruple-feature of Universal Monster Classics on Saturday. Showing are Charles Lamont's ABBOTT & COSTELLO MEET DR. JEKYLL & MR. HYDE (1953, 76 min; Noon), Erle C. Kenton's HOUSE OF FRANKENSTEIN (1944, 71 min; 1:40pm), Kenton's HOUSE OF DRACULA (1945, 67 min; 3:15pm), and William Crain's BLACULA (1972, 93 min; 4:45pm) [though this is an AIP film, not Universal]. Unconfirmed Formats (likely DVD Projection).



I Think We're Ready to Go to the Next Sequence: The Legacy of HalfLifers continues at Gallery 400 (UIC, 400 S. Peoria St.) through June 15. Included are works by the HalfLifers (Torsten Zenas Burns and Anthony Discenza) as well as work by 23E Laboratories, Jason Robert Bell, James Fotopoulos, Kari Gatzke, Lauren Marsden, Jennifer and Kevin McCoy, Bjørn Melhus, Shana Moulton, Caspar Stracke and MASTERS OF TIME AND SPACE, and Jennet Thomas.

The Presence of Absence continues at the Hairpin Arts Center (2800 N. Milwaukee Ave., 2nd Floor) through June 2. Curated by Northwestern University Department of Radio-TV-Film Professors Dave Tolchinsky and Debra Tolchinsky, and presented by Contemporary Arts Council, the show features work by installation/conceptual artist Iñigo Manglano-Ovalle, new media artist Christopher Baker, filmmaker/installation artist Melika Bass, sculptor and School of the Art Institute professor Laurie Palmer, Colombian/Chicago painter Paola Cabal, installation artist Katarina Weslien, and filmmakers Robert Chase Heishman and Brendan Meara. The opening reception is Friday, May 10, from 5-7pm. Curators and Artists Talk, Saturday, May 18, 2-3pm.

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 25.

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).

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

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CINE-LIST: May 24 – May 30, 2013

Patrick Friel


OTHER CONTRIBUTORS / Kian Bergstrom, Josephine Ferorelli, Jason Harlprin, Kat C. Keish, Christy LeMaster, Mojo Lorwin, Ben Sachs, Shealey Wallace, Brian Welesko, Candace Wirt, Darnell Witt

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