Chicago Guide to Independent and Underground Cinema
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:: Friday, NOV. 1 - Thursday, NOV. 7 ::


Fritz Lang's M and Joseph Losey's M (German and American Revivals)
Doc Films (University of Chicago) (Lang's M) - Tuesday, 7pm
Northwest Chicago Film Society (at the Patio Theatre) (Losey's M) - Wednesday, 7:30pm

Through a wonderful coincidence, two film venues on opposite sides of the city are hosting back-to-back screenings of Fritz Lang's German masterpiece M and its American noir remake. This happenstance juxtaposition affords the intrepid cinephile a chance to weigh an exceptional remake against its original in quick succession. The two films share a similar plot and expressionist photography, but whereas Lang develops a visceral repulsion to Peter Lorre's slovenly child-murderer (and implied rapist), Joseph Losey manages a different tack: envisioning the horrors of a mob mentality, we are brought to empathize with David Wanye's pursued Martin Harrow. The climactic pursuit of the rapist in Losey's version has been moved to the downtown LA landmark Bradbury building, wherein the constricting verticality of its wrought-iron atrium entraps Harrow as the criminal underworld closes in. Even if you can't make it to both, either is well worth watching on its own, though it is Losey's recently restored, not-on-video version that should pique the interest of those looking to savor a rarer screening. University of Chicago professor Tom Gunning introduces the Wednesday screening. (1931, 111 min, 35mm; 1951, 88 min, Archival 35mm Print) DM
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Sophie Fiennes' THE PERVERT'S GUIDE TO IDEOLOGY (New Documentary)
Gene Siskel Film Center - Check Venue website for showtimes

Psychoanalytic film theory had its moment in the early '70s, but has since been dismissed as an outmoded, myopic form of interpretation that assumes a lack of self-awareness on the part of the subject. As emancipated spectators we no longer seek to excavate the latent content of a text, eschewing a hermeneutic paranoia in favor of reparative reading, sensitivity for affect, and an erotics of art. Enter Slavoj Zizek: Slovenian philosopher, ivory tower court jester, and torchbearer of Freud et al. In THE PERVERT'S GUIDE TO CINEMA he deconstructs Hollywood classics to reveal hidden Oedipal subplots and freaky fantasies. With the help of director Sophie Fiennes, Zizek inserts himself into meticulously recreated scenes from THE BIRDS, BLUE VELVET, and others. The duo employ the same gimmick in their follow-up feature, THE PERVERT'S GUIDE TO IDEOLOGY, otherwise known as the invisible apparatus that reproduces the hegemonic relations of production, or as Marty Rubin succinctly puts it, "that seductive tool of the system that uses our desires to make us freely choose our lack of freedom." Without ever mentioning the names Louis Althusser or Jaques Lacan, Zizek demonstrates how even the most mainstream movies, say THE SOUND OF MUSIC or WEST SIDE STORY, can serve as a subversive critique of ideology. This dialectical practice of looking awry is a trademark of his work. In typical Zizek fashion, the film is less a cohesive argument, more a clusterfuck of outlandish statements (some genius, others jejune). For example, his musing on the symbolic capital of Coke feels like Marshall McLuhan era ad busting, while his exegesis on the Mojave Desert airplane graveyard is apropos of our contemporary moment. If you've been following his writing for the past several years, this material comes off as a greatest hits album. All the classics are here: rants on cultural consumerism vis-à-vis Starbucks and class politics in TITANIC, as well as meditations on violence and Christian atheism. What detractors don't seem to realize is that Zizek is always in on the joke, and if psychoanalytic film theory is poised for a comeback its because it can now laugh at itself. (2012, 134 min, HDCam Video) HS
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Experimental X 2
Confluence: Films/Videos by Lori Felker and Collaborators (Experimental)
Film Studies Center (Univ. of Chicago) at the Logan Center for the Arts (915 E. 60th St.) - Friday, 7pm (Free Admission)

When you hang around long enough in a local arts scene, it becomes apparent that certain special people bind that community together. They appear again and again in a dozen different roles. Chicago is a city of great film teachers, writers, makers, and organizers, but I cherish the restless worker who does everything and anything in service of the community. Lori Felker is one of those tireless utility players who projects, programs, organizes, shoots other's work, teaches, and somehow finds the time to make excellent work herself. It only makes sense that this screening of Felker's work gracefully acknowledges her friends and collaborators. The backbone of the show is her recent series of eerie and absurdist videos called BROKEN NEWS, which are three shorter works in which Felker wakes herself up in the middle of a deep sleep and tries to recount the day's news and her own dreams on a traditional cable news set (created digitally by artist Chris Royalty). IMPERCEPTIHOLE is a gorgeous high-contrast black and white 16mm collaboration between Felker and Robert Todd that was created over a year through correspondences between the two filmmakers. THE CONS COMPETITION is an animated short by oft-collaborator Mike Lopez, who shares Felker's dryly-ridiculous humor. The haunting REMOTE by Jesse McLean features Felker's cinematography. And, finally, Felker will be showing excerpts from FUTURE LANGUAGE, which is a feature-length documentary she is working on about "space punk" musician Von LMO. Felker in person. (2010-13, approx. 63 min total, 16mm and Video Projection) JBM
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Cut, Re-Cut, & Perform: Films By Ian Curry (Experimental)
The Nightingale (1084 N. Milwaukee Ave.) - Saturday, 8pm

Every couple of years Chicago is lucky enough to get a new crop of film-mad students coming to study at places like the Art Institute or UIC. They come in packs with their bolexes and their split reels from places like Milwaukee, Pittsburgh, Ithaca, and Boston. As the Pittsburgh and Milwaukee crowds filter away after getting better gigs elsewhere, perhaps we're seeing the accent of a strong Boston contingent. Their work is marked by vigor and speed—rushing energies of light and striking rhythms in the edits. Ian Curry is one of these new Boston celluloid ruffians, come here to bang up our Eikis, and keep Larry Urbanski in business. (There you go—the most "inside baseball" sentence ever written on Cine-File). CIRCADIAN is a psychedelic romp through the garden. HAVING HER BABY is a stumbling, rollicking film of a band, their house, their cat, and their oddball art. GOOD MORNING, MY NAME IS MIKE is a delightful portrait of a friendship. RECTANGLE FACTORY is a somewhat straightforward document of the craft and businesses of art. WRECKED is a tremendous performance that flares and flashes light and sound in such a way to be both terribly frightening and breathtaking. ALL DAY sees Curry's camera swarming and jerking around a busy kitchen, trying to match the energy and effort of the work being presented. Finally, REMAINS TO BE SEEN is a fascinating double projection that bleeds matching images together in a beautiful way. (2009-13, approx. 60 min, 16mm and multiple 16mm projector performance) JBM
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Abdellatif Kechiche's BLUE IS THE WARMEST COLOUR (New French)
Landmark's Century Centre Cinema - Check Venue website for showtimes

Winner of the 2013 Palme d'Or, Tunisian filmmaker Abdellatif Kechiche's controversial new film BLUE IS THE WARMEST COLOR presents a young-love story that extends for more than four years. Beginning when Adele is in her junior year of high school, the film follows her crush on an older artist, Emma, as it turns into a steadfast relationship. For all of its scandal since its release, the film is nothing more than a three hour coming of age romance story that shows the evolution of main character Adele grow from her natural trepidation of being a teenager to an established and accepting adult. The cinematography by Sofian El Fani gives the film a slow and sensual feel, with its heavy soft-focus coupled with frequent shallow depth of field used to distance the two characters from the rest of the world as the pair grow up and apart. When the two characters are apart, the film turns from a poetic, sensory exploration of a couple to a messy and chaotic cinema verité style, which reveals the natural ugliness of human life in a modern city. As the English title suggests, El Fani pays homage to the graphic novel from which the film is adapted with her focus on the color blue, which subtly bleeds into to the film and into the relationship; the hue is so particular throughout that it is the only element in the narrative the drifts from its naturalistic style. (179 min, DCP Digital Projection) SW

Michelangelo Antonioni's L'AVVENTURA (Italian Revival)
Music Box Theatre - Check Venue website for showtimes

At the premiere of L'AVVENTURA at the Cannes Film Festival in 1960, Michelangelo Antonioni famously said, "Eros is sick; man is uneasy, something is bothering him. And whenever something bothers him, man reacts, but he reacts badly, only on erotic impulse, and he is unhappy." Similar to L'ECLISSE, L'AVVENTURA begins with a wealthy Roman girl named Anna (Lea Massari), expressing her unhappiness in her relationship with Sandro (Gabriele Ferzetti). Still, the couple embarks on a cruise with their friends. Their yacht stops at a small island north of Sicily for the party to explore and suddenly Anna disappears from sight. Taking up the role of the protagonist, Anna's friend Claudia (Monica Vitti) and Sandro comb both the island and the small towns across Sicily to find her. Antonioni sets nearly half of the film at sea, and Claudia and Sandro return to face it from their palatial hotel in Taormina at the end. Excluding Claudia, Antonioni's characters are the idle rich, who pass the time with rather unemotional sex, considering they are unable to love. Aldo Scavarda's cinematography gives the sea and its islands a lifeless appearance that seems forbidding to their travelers. He creates a very desolate seascape unconcerned with Italy's past or present—space unmarked by time leads to a sense of alienation, the defining condition of these characters' lives. In L'AVVENTURA, the world only exists as subjective reality. The film is not only concerned with the mystery of Anna's disappearance, but also the mystery of our own existence, one "that can only end in a stalemate." (1960, 143 min, Newly Restored 35mm Print) CW
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Alfred Hitchcock's ROPE (American Revival)
Gene Siskel Film Center - Friday, 6pm and Saturday, 5:30pm

While maybe not Hitchcock's best film, ROPE is certainly one of his most curious. Based on an English play entitled Rope's End in which two elitist university students murder an acquaintance and hold a cocktail party over his hidden corpse, Hitchcock's 1948 film sanitizes it for American audiences. The play, ostensibly about the infamous Leopold and Loeb case, purports a homosexual relationship between the two male leads, and a supposed affair with their former professor—the inspiration for the murder—who also sniffs out the crime at the party. Hitchcock's film, by removing the offending gay cues and suggestive Britishisms—"my boy!"—leaves us mostly with elephants in the room. According to screenwriter Arthur Laurents, Warner Bros. purportedly never used the word homosexuality or its variants, preferring to use "it," and never acknowledged its basis on Leopold and Loeb. It is only fitting that Hitchcock's ROPE, often described as an experiment, would strike such tension with Hollywood filmmaking: dialogue-driven, single location, long takes, etc. Even its unique editing construction—long shots that attempt to hide cuts by disguise through clever camera movements—is interesting considering the Hollywood style of "invisible" editing. ROPE isn't exactly subversive, but it doesn't play by the rules either—a distinctive feature for much of Hitchcock's work. (1948, 80 min, 35mm) BW
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Claire Denis' WHITE MATERIAL (Contemporary International)
Gene Siskel Film Center - Sunday, 5pm and Wednesday, 8pm

Claire Denis' exploded chamber drama centers on the white inhabitants of an isolated coffee plantation in an unnamed African country as they face a variety of interlopers from the outside world, including a wounded rebel leader (Isaach De Bankolé), a child army, and evacuating French soldiers. Building on the anti-psychological approach introduced in THE INTRUDER, Denis shuffles the order of events, linking chronologically disconnected scenes through a sort of associative logic; the result could be compared to someone pulling on a thread in order to untangle a knot. In many ways, this is Denis doing Michael Haneke—a bourgeois woman (Isabelle Huppert) is done in by an entitled sense of vocation, while her layabout son (Nicolas Duvauchelle) turns to brutality as a way to lash out against his own boredom (shades of BENNY'S VIDEO and, depending on who you ask, CACHE)—but Denis' vision, focused on the characters' individual failings, is at once more sympathetic and more brutal than the comparison suggests. (2009, 100 min, 35mm) IV
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John Cassavetes' A WOMAN UNDER THE INFLUENCE (American Revival)
Doc Films (University of Chicago) - Wednesday, 7 and 10pm

For the uninitiated, the films of John Cassavetes are at best unknown and at worst unappreciated. Marked by intimacy, chaos, and frequent awkwardness, they are populated by characters who are not from the same town as Jake LaMotta or even Harry Caul. The experience of a Cassavetes film can often hit too close to home—as when someone's mood suddenly shifts from jolly to angry, or when someone else blurts out an unprovoked insult, followed by an extended uncomfortable silence. He has a knack for allowing an actor to so fully inhabit the skin of their character that even Peter Falk somehow ceases to be Columbo. One of his finest achievements is A WOMAN UNDER THE INFLUENCE. Utilizing a crew of both professionals and students from AFI—where he was serving as "filmmaker in residence"—Cassavetes draws us into the marriage of blue collar Nick Longhetti (Peter Falk) and his wife Mabel (Gena Rowlands, Cassavetes' real-life spouse) as she struggles with an unnamed mental illness and raising their three children. If Mabel is unstable, Nick is insecure and prone to violent outbursts. Neither of them is wired quite right, but what makes Cassavetes' approach to the story remarkable is his compassion for each of these deeply flawed, but not broken, people. Moments of real love emerge from a caress or exchanged glance; Mabel's social faux pas are seen as simply quirks of her condition; and Nick's violence towards a co-worker is dismissed as part of a bad day. These actions are not justified; they are simply accepted by the filmmaker as part of the human condition. The main setting is a small home in Los Angeles, and the camera is often a silent child in the room, watching as the parents overreact. Close-ups dominate the mise-en-scene, with skillful hand-held shots sometimes approaching a documentary look—where the focus struggles to keep up with the action. WOMAN is a film of raw emotion laid bare; perhaps it is this intensity that continues to limit a wider appreciation of his work. (1974, 155 min, 35mm) JH
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Olivier Assayas' DEMONLOVER (French Revival)
Doc Films (University of Chicago) - Thursday, 7pm

One of the key films of our time, Olivier Assayas' DEMONLOVER also remains the most thoughtful in its consideration of how the Internet has affected communication and our perception of the world. The movie collapses usual boundaries of culture and geography for the sake of its global narrative, which has something to do with espionage and sexual power-plays among rival companies who produce bondage porn websites. It's arguably Assayas' most immediate film (after COLD WATER), as well as his most cerebral: The underlying formal strategy is a near-ceaseless run of complicated tracking shots that reflect the streamlined, constantly-updating logic of the Internet itself. This is a film at once tapped into the zeitgeist and critical of it, much like Godard's provocative masterpieces of the mid-60s. And like Godard, Assayas uses the movie to advance a critical theory on other filmmakers, synthesizing Michael Mann's procedural thrillers and David Cronenberg's technological allegories into a grand landscape of modern power (and powerlessness). demonlover is as morally unsettling as anything by those directors at their best, in large part because it connects the terrifying world onscreen to consumer habits at large. The cast is uniformly excellent at underscoring this theme, basing their characterizations on the refined opacity of late capitalism. (The underrated Gina Gershon, doing a turn on her efficiency expert character in Mann's THE INSIDER, is worth singling out.) (2002, 115 min, 35mm) BS
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Clint Eastwood's PLAY MISTY FOR ME (American Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) Wednesday, 1pm (Free Admission)

A requisite stepping-stone in the development of any historically-minded cinephile is the recognition that the iconic handgun-fetishist fascism of Don Siegel's DIRTY HARRY, released in December 1971, was preceded a month earlier by Clint Eastwood's directorial debut: the well-received, hardly suspenseful pacifist date movie PLAY MISTY FOR ME. By comparing the institutionally memorized "do you feel lucky, punk?" catchphrases of Harry Callahan with the introspective community-radio/proto-quiet-storm DJ who plays weekly "five hours of music to be very, very nice to each other by," one can embark on a study of the decades of misunderstood, underrated, or forgotten Eastwoodania that he continues to produce in earnest to this day. MISTY's minimal plot of unbridled obsession is paralleled (and eclipsed) by Eastwood's highly amorous location shooting, which migrates the ecological Technicolor love affairs of Hitchcock's THE BIRDS and VERTIGO south to Monterey Bay: here in the Summer of 1970, a culturally diverse, bourgeois populace drives Jaguar convertibles in a breezy, post-bop heaven as-yet untouched by the blight of amphetamines, psychedelic rock, and the Whole Earth Catalog. In this film Eastwood begins his self-study of the guilt-ridden feminist jazzbo womanizer, as well as a more general intervention into the masculine mythology he so ruefully represents. (This reaches an apex with the CRUISING-esque TIGHTROPE [1984], his most direct and personal attempt to modulate the sexual-consumerist ideology that ruined several of his own relationships.) However, the weight of decades of mass-media "Make my day" inertia guarantees a perpetually limited comprehension of the Eastwood dialectic: the combination of an understated semiotic self-awareness—approaching (but never equaling) that of Douglas Sirk—with an unshakably conservative public image that for forty years he has repeatedly, and perhaps deliberately, failed to uncreate. (1971, 102 min, 35mm) MC
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Harold P. Warren's MANOS: THE HANDS OF FATE (American/Cult Revival)
Music Box Theatre - Friday and Saturday, Midnight

The sadness that washed over me the first time, many years ago, that I ever saw an episode of Mystery Science Theater 3000 remains a bitter ache that, like a cut inside your mouth, seems to reopen and refresh itself every time you notice it. Lovely, idiosyncratic, intensely felt, and deeply strange films were unearthed on that show, movies that in their inimitable misunderstandings of classic Hollywood idioms and troubled relationships with narrative were like mysterious blind alleys branching off the tedious main thoroughfares of cinema. Delirious, visionary, and transformative, movies like BRIDE OF THE MONSTER, THE INDUSTRUCTIBLE MAN, THE AMAZING TRANSPARENT MAN, and NIGHT OF THE BLOOD BEAST, movies that I treasure, movies that are among the greatest of their times, were made into mere setups for cruel mockery on the part of comedians whose interest in cinema was apparently limited to finding hilariously wanting anything that didn't look like the anonymous productions of well-paid professionals. In January, 1993, Mystery Science Theater 3000 aired one of its most notorious episodes when the cast set up to piss all over a largely-forgotten horror film from 1966, made by a cast and crew who were almost all complete amateurs and produced by an insurance salesman merely so as to win a bet. It was MANOS: THE HANDS OF FATE, directed, produced, written by, and starring Harold P. Warren. Much has been written on MANOS, nearly all of it supporting the proposition that it is not merely bad but amazingly bad, a film admirable and remarkable precisely because it is a contender for the worst film ever made. It is not the worst film ever made. In fact, it is extraordinary, a mesmerizing and precious piece of film history. The bare plot line is easily summarized, though to do so, as with all great cinema, is to miss everything of note in the film. A married couple and their young daughter lose their way and end up at a decrepit old house manned by a disturbed cripple named Torgo. The house is the home of the Master, a priest of some sort, endowed by the god Manos with undisclosed powers that may include mental domination. The Master rules over a cult of scantily-clad and in-fighting women, his brides, and contends with Torgo for sexual access to them. The family finds themselves turned into unwilling battlegrounds for this contest between Torgo and the Master. What matters, though, is not the silly erotic mysticism of the story but the movie's rhythms, its style, its camerawork, which in their outsider brutishness combine to form nothing less than a window into an alternative conception of cinema itself. Where many movies strive for a rough continuity between our experience of the world and the constructed phenomenology of the art world, MANOS jettisons any coherence of character or theme, all but the slightest glimmer of narrative structure, and the rudimentary foundations of cinematic convention. One's experience of time and space, critical philosophy recognizes, is not found within that which we perceive but in fact structures the very act of perception. Ingrained within the very fabric of reason, the intuitions of space and time allow for, shape, and control the kinds of sensations we're capable of having. To watch MANOS: THE HANDS OF FATE is to encounter a direct assault upon those representations. It's a project doomed to fail, a doom echoed by the overarching doom that the ever-approaching, never appearing god Manos himself represents in the film.  But it's a film that in its failure is nothing less than astonishing. Note: The version of MANOS: THE HANDS OF FATE being shown has been lovingly restored by Benjamin Solovey from the original 16mm workprint. It has never looked better, even at the 1966 premiere. If you are only familiar with the film from the washed-out, cropped version circulating in the public domain, you are in for a revelation. (1966, 69 min, DCP Digital Projection) KB
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Reeling: The Chicago LGBT International Film Festival (presented by Chicago Filmmakers) opens on Thursday at 7:30pm at the Music Box Theatre with Darren Stein's 2013 film G.B.F. (98 min, Blu-Ray Projection). The festival continues at the Logan Theatre and other venues through November 14.

Mostra IV: Brazilian Film Series in Chicago begins on Friday and runs through November 13. Complete schedule at

The Chicago Film Seminar presents James Hodge (Northwestern Univ.) speaking on "Lateral Time" on Thursday at 6:30pm. The response will be by Daniel Morgan (Univ. of Chicago). The event is at DePaul University Loop Campus, The Daley Building (14 E. Jackson Blvd., Room LL 102 - Entrance at 247 S. State St.). Free admission.

The Eye & Ear Clinic series at SAIC welcomes artist, curator, writer, and former Chicagoan Nicholas O'Brien, who will be doing a presentation on the intersection of contemporary digital and net practices and contemplative, Romantic behavior. It's on Monday at 4:30pm at SAIC's Neiman Center (37 S. Wabash Ave., First Floor). Free admission.

Also in the Neiman Center on Monday (at 6pm) is Christopher Ottinger: Ghost Machine: Object Oriented Alchemy, presented by SAIC's Media Archeologies Institute. Ottinger will discuss the differences and intersections of approach between studying media technologies within their historical contexts and as discrete objects. Free admission.

Northwestern University welcomes University of Iowa professor Paula Amad who will give a talk entitled Cin-aereality: The Aerial Imprint in European Avant-Garde Cinema of the 1920s on Friday at 3:30pm. It's in the Helmerich Auditorium, Annie May Swift Hall, on the NU campus. Free admission.  Christopher St. John's 1972 film TOP OF THE HEAP (92 min, Video Projection - Unconfirmed Format) screens on Thursday at 7pm at Chatham Theaters (210 W. 87th St.).

The Conversations at the Edge series at the Gene Siskel Film Center presents Now: The Body and the Screen on Thursday at 6pm. Curator and new media artist Jennifer Chan screens and discusses a program of videos by artists Alexandra Gorczynski, Georges Jacotey, Jaakko Pallasvuo, Faith Holland, Eduardo Menz, Ei Jane Janet Lin, and others.

Black Cinema House (6901 S. Dorchester Ave.) screens Mario Nalpas and Henri Etievant's 1928 Josephine Baker film SIREN OF THE TROPICS (86 min, DVD Projection) on Saturday at 6pm, with live musical accompaniment by Aymeric Avice (trumpet) and Benjamin Sanz (drums). Co-presented by Experimental Sound Studio. Free admission, but limited seating; visit the BCH website to RSVP.

Afterglowings presents Blanket Cinema on Wednesday at 8pm in the backyard at 3149 W. Lyndale. Screening is F.W. Murnau's 1924 film THE LAST LAUGH (approx. 75 min), preceded by a half-hour of assorted cartoons. Cartoons at approximately 8:30pm; feature at 9pm. 16mm.

Fans for Living and the Chicago Cinema Society present a double feature of Christopher Mihm's recent drive-in inspired/homage films THE GIANT SPIDER and TERROR FROM BENEATH THE EARTH, with Mihm in person. It's at the Fans For Living Screening Room (920 W. Wilson Ave.) on Saturday at 7pm.

Chicago Filmmakers presents Michael Diaz's 2013 independent feature THE MISEDUCATION OF SIMON KRAUS (94 min, Video Projection - Unconfirmed Format) on Saturday at Chicago Filmmakers (5243 N. Clark St.) at 7:30pm and at Columbia College's Ferguson Theater (600 S. Michigan Ave.) on Wednesday at 6:30pm.

The Logan Square International Film Series at Comfort Station Logan Square (2579 N. Milwaukee Ave.) presents a double feature of Herbert J. Biberman's 1954 film SALT OF THE EARTH (94 min, DVD Projection) and Sergei Eisenstein and Grigori Aleksandrov's 1932 film QUE VIVA MEXICO (Unconfirmed Running Time, DVD Projection) on Wednesday at 7pm (SALT) and approx. 8:35pm (MEXICO). Free admission.

Due to a time crunch, we are unable to provide details on the following screenings. Please visit the website of the various venues for details. Our apologies.

Gene Siskel Film Center:

Doc Films (University of Chicago):

Music Box Theatre:

Block Cinema (Northwestern University):

Facets Cinémathèque:
Chicago International Children's Film Festival
(through Nov. 3)

Logan Theatre:

Alliance Française:

Italian Cultural Institute:

Patio Theater:
Halloween Hangover Event



Iceberg opens an exhibition of work by local filmmaker and artist Melika Bass on Sunday (reception from 5-8pm). Showing is the "immersive multi-channel video installation" Slider Chamber . The show runs through December 16. 



The Portage Theatre remains closed for the foreseeable future. The Patio Theater has discontinued its regular programming and will instead focus on presenting special events, rental screenings, revival screenings in digital, and The Northwest Chicago Film Society's weekly screenings.

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CINE-LIST: November 1 - November 7, 2013

Patrick Friel

CONTRIBUTORS / Kian Bergstrom, Michael Castelle, Jason Halprin, Josh B. Mabe, Doug McLaren, Ben Sachs, Harrison Sherrod, Ignatiy Vishnevetsky, Shealey Wallace, Brian Welesko, Candace Wirt, Darnell Witt

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