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:: Friday, SEPT. 6 - Thursday, SEPT. 12 ::


Onion City Experimental Film and Video Festival
Columbia College Chicago (1104 S. Wabash Ave., 5th Floor) & Music Box Theatre- Friday through Sunday (Check festival website for complete schedule)

For the true Chicago cinephile, there's not a single screening during the Onion City Film and Video Festival that should be missed. If you are looking for essay films and personal documentaries, go to Portraits, Queerly (Friday, 7pm, Columbia College). If you are a lover of Portuguese cinema, check out The Way of All Flesh (Saturday, 3:15pm, Columbia College). Animations abound in System Overload (Saturday, 8pm, Columbia College), featuring the confoundingly deliriously fun DUMB DAY by Kevin Eskew. Illuminations (Saturday, 5:45pm, Columbia College) features the always great Lewis Klahr and Pablo Marin, in addition to a mysteriously gorgeous Filipino short film from Jon Lazam. THE REALIST & EMPIRE (Sunday, 2pm, Music Box) is a double-featurette with Phil Solomon's machinima Warhol riff EMPIRE (only when referring to Warhol would some that's 48 minutes be considered a "riff"), and Scott Stark's THE REALIST which features unreal human stand-ins in the form of department store mannequins flickering and trembling through an almost-narrative. James Benning's NIGHTFALL (Sunday, 4pm, Music Box) is a real-time shot of day turning to night. And closing out the festival is a special sneak preview of cherished local critic turned acclaimed documentarian Gabe Klinger's DOUBLE PLAY: JAMES BENNING AND RICHARD LINKLATER (Sunday, 7:30pm, Music Box). Check out the website for the full schedule, and see below for fuller write-ups of two programs worth singling out:
Talk about the Passion (Friday, 8:45pm at Columbia College) features several works by beloved locals, including GIRLS LOVE HORSES by Jennifer Reeder and UNE TERRE FAMILIERE by Mariana Milhorat. A work of shimmering nocturnal superimpositions, HOW TO QUIT SMOKING AT THE MOON HOTEL by Jessie Stead is mysterious and lovely. GOLD MOON, SHARP ARROW by Malic Amalya is a performance-based 16mm film full of obtuse allusions that are a little difficult to follow (admittedly, I'm dumb about performance), but Amalya's eye and rhythms are so damned precise and lovely that the pure filmmaker behind the work shines through. It's one of my favorites of the festival. Also in this screening, work from Stephanie Barber, Olivia Ciummo, Neil Beloufa, and Ted Kennedy.
Wandering, Pausing (Saturday, 1pm at Columbia College) is probably the loveliest program of the festival. Lush, intense colors and imagery intermingle with rigorous compositions and challenging abstractions. Like so much of Vincent Grenier's work, WATERCOLOR (FALL CREEK) is so damned simple and straightforward that it's maddening how perfect and breathtaking the whole thing ends up being. WATERCOLOR is simply that - the color of water shot from under a bridge. The colors are never simply blue, never simply clear, always flowing (you know, like water) and always bifurcated by the shadow of the bridge. As the video progresses, the compositions start to mimic color field paintings then - with little time left - abruptly shift perspective, first visually, then temporally. Shit, it's good. Also in this program, we are treated to three new 16mm works from absolute masters of filmic poetry: VIDEE by Diane Kitchen, MURMURATIONS by Rebecca Meyers, and LOOKING-GLASS INSECTS by Charlotte Pryce. Also in this screening, works from Basma Alsharif, Jake Barningham, Andres Denegri, Lorenzo Gattorna, and Jonathan Schwartz. JBM
Note: Onion City is organized and programmed by C-F editor Patrick Friel
More info at Formats noted on festival website.

Robert Altman's THAT COLD DAY IN THE PARK (American Revival)
Gene Siskel Film Center - Sunday, 3pm and Wednesday, 6pm

This is a transitional picture in more ways than one, with its most permanent legacy being the revelation that movie production is much cheaper in Vancouver than Hollywood. Released several months after the final unraveling of the Production Code, THAT COLD DAY IN THE PARK revels in improvisational incest, blithe nudity, gynecological exactitude, and bloody murder. It feels like it's always teetering on the edge of Grand Guignol, sputtering between reserve and unhinged lunacy. If it were made a few years later, with more confidence and less taste, it might've been a very fine exploitation film. As is, it resembles a familiar psychodrama, with the sincere interest in a woman's interior life constantly at odds with the spinster misogyny embedded in the premise. THAT COLD DAY was also a turning point for Robert Altman, finally graduating from the minor leagues after more than two decades of journeyman efforts in industrial films, TV episodes, documentaries, and regional productions. M*A*S*H would come along a year later and catapult Altman to a volatile Hollywood career. Touchingly, THAT COLD DAY strives to be a personal film, but only intermittently achieves a personal touch. The upper echelons of Vancouver society are sketchily conceived (lawn bowling?!) and the new generation fares no better; there's a very mechanical shock value attributed to their mores. And yet this is undoubtedly an atmospheric film, one with the courage of slowness and an astonishing faith in the expressive and explanatory power of decor, wardrobe, and interior design. (Relatedly, the rich, grainy cinematography from Laslo Kovacs is certainly a major asset.) The most generous assessment would render THAT COLD DAY a kind of JEANNE DIELMAN in reverse. More objectively, this is a very interesting early effort from a major American filmmaker, if nowhere nearly as memorable as CORN'S-A-POPPIN'. (1969, 112 min, Newly Preserved 35mm) KAW
More info at

Preston Sturges's THIRTY DAY PRINCESS (American Revival)
Gene Siskel Film Center - Monday, 6pm

Let's advance a controversial premise: is it possible that Preston Sturges's great, garrulous gift laid not in directing but in writing? Without diminishing in any way the superlative heights of CHRISTMAS IN JULY or SULLIVAN'S TRAVELS, one cannot help but look at films like REMEMBER THE NIGHT or DIAMOND JIM and see a fully-formed artist, brilliant but effectively constrained. In the films that Sturges wrote but did not direct, one detects a judicious balancing act—a deliberate choice on the part of Sturges's collaborators to retain the delicate bon mots but also allow the actors to sculpt their own performances rather than be hemmed-in by Sturges's gangly, slapstick conceptions. In the case of REMEMBER THE NIGHT, Mitchell Leisen's decision to cut dialogue unsuited to Fred MacMurray's genuine but limited abilities proved sufficiently unforgivable to ignite Sturges's directorial career. It's understandable that Sturges would later downplay his '30s efforts and denigrate the men who ransacked his scripts, but the films themselves hold up remarkably well today and feel fresher than Sturges's '40s output, if only because they've been systematically underseen and underrated. THIRTY DAY PRINCESS is a prime example. Sturges averred later that very little of his work remained in the final product (he shares credit with three other writers), but the correlations are simply too great to place much credence in this disavowal: THIRTY DAY PRINCESS features an automat scene to rival EASY LIVING, aloof foreign dopes right out of THE PALM BEACH STORY, a delightful lineup of supporting characters, and a rich appreciation for the tensile absurdity of American class relations. The credited director Marion Gering is basically a non-entity and the execution strictly pedestrian, but the baseline at Paramount in these years was so stupendously high that even sleepwalking looked stylish. And I haven't even mentioned the considerable, essentially unaccountable delight to be found in Sylvia Sidney asking for a cinema ticket in a resolutely gimcrack accent. (1934, 74 min, Newly Preserved 35mm Print) KAW
More info at


THE HARDER THEY COME (Jamaican Revival)
Gene Siskel Film Center - Saturday, 8:15pm

Too often dismissed as "that Jimmy Cliff film," it might be overlooked that this 1972 slum-gangster flick cum star-vehicle was the first feature to be made in Jamaica by Jamaicans, and is a heck of a smart story. Loosely based on the true story of Rhygin, a '50s era outlaw folk hero, alongside elements taken from Cliff's own life, the film mixes pop and politics to capture the emerging identity of the post-colonial Caribbean nation and the structural struggles that its people faced. Violent and self-reflexive, the scenes of destitute poverty in the Kingston slums stand in contrast to the pockets of wealth where Ivan (Jimmy Cliff) begs for work upon his arrival from the country. Finding no opportunities, the plight of many in the third world is captured as Cliff digs through the garbage at Kingston's landfill alongside real people who were scavenging for their daily subsistence. He turns to a preacher in the ghetto for help, and is offered employment, but not respect. This affords the subplot containing high-energy scenes of a poor Baptist congregation, its choir singing and dancing with palpable emotion so real it's hard to discern the actors from the extras. Wearing out his welcome with the preacher, Ivan leaves and gets the chance to cut a record, only to find out that he has to sign away the rights if he wants it released. His exploitation almost complete, he takes a job trafficking marijuana, and becomes an outlaw. Just as his song is starting to get radio play, he shoots a cop and as he goes on the lamb. He tries to flee the country, but the film hurtles towards a finale where the hero will be gunned down before he can escape the cycle of poverty for a shot in the US. The movie also features a soundtrack that's a who's who of the Reggae world (sans Bob Marley) and served as a primary vehicle for the worldwide popularization the music. A fitting film for an art that was itself a social and political movement. Though not particularly well received upon its release, THE HARDER THEY COME has aged well, and remains a benchmark in post-colonial cinema. (1972, 120 min, DCP Projection) JH
More info at

Lucy Mulloy's UNA NOCHE (New American/British/Cuban)
Gene Siskel Film Center - Check Venue website for showtimes

Over the course of one day, three teenagers prepare to make the journey to escape Havana, Cuba to Florida, just 90 miles away. The booming Cuban black market allows for their secret plans to be followed through as the teenagers save face in front of their family and friends. The lure of freedom and the thought of finding one character's father outweigh all possible negative repercussions, though the mounting pressure and internal secrets of members of the group cause the anxiety and fear to transmit from the screen into the audience. The rough streets of Havana, though, complete the cast; acting as the ever-present reminder of the social and economic ruin which drive these children to Miami not for a nice spring break holiday, but instead for a chance at a proper life. Mulloy reportedly spent years in Cuba doing research and finding the perfect ensemble, and her efforts are well worth it - the cast is comprised entirely of unexperienced actors, all of whom make the roles their own through believability and use of their natural selves. As Mulloy's film debut, this low-budget feature shows promise for continuation of her career, and her emphasis on individual character study makes the distracting narration bearable. (2013, 90 mins, DCP Projection) SW
More info at

Terrence Malick's DAYS OF HEAVEN (American Revival)
Northwest Chicago Film Society (at the Patio Theater) - Wednesday, 7:30pm

Who would have predicted that DAYS OF HEAVEN would be the most influential American film of the past ten years? A number of movies would be almost impossible without its influence—THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, THERE WILL BE BLOOD (which tipped its hat by employing DAYS' ingenious production designer, Jack Fisk), most of the work of David Gordon Green—that Malick's unprecedented approach has come to seem almost familiar. But seen in a theater, DAYS OF HEAVEN is forever new. Malick's poetic sensibility, which combined an absurdist fascination with the banal with an awestruck view of open landscapes, renders the past era of pre-Dust Bowl Heartland America a gorgeous, alien environment. The film is structured around his lyrical observations, jutting forward in unexpected sequences like a modernist poem. More than one set piece (including the locust infestation and the bizarre entry of a flying circus troupe) has become a little classic in itself; it's easy to forget the primal romantic tragedy, which Ray Pride once likened to a Biblical fable, that gives the movie its towering structure. It is this feeling for eternal narratives—rooted, perhaps, in Malick's study of philosophy—that distinguishes the film from any of its successors, which could never replicate Malick's spiritual orientation. (1978, 95 min, New 35mm Print) BS
More info at

BEN-HUR - A TALE OF THE CHRIST (Silent American Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) - Wednesday, 1 and 7:30pm

Based on Lew Wallace's novel of the same title, Fred Niblo's 1925 silent film was a sensational hit in many aspects. As the trailer—which is as elaborate as the film itself—boasts, it hired 15,000 extras for the spectacular battle scenes and the climactic chariot race. Ramon Novarro plays Judah Ben-Hur, a young wealthy Jewish man who is arrested by his childhood friend Messala (played by Francis Bushman). Now a powerful Roman commander, Messala sends Ben-Hur's mother and sister to jail and confiscates their family possessions. Ben-Hur is sentenced to be a galley slave and on his way to a Roman warship, he is unknowingly touched by the hand of the Christ. During a battle with pirates, Ben-Hur rescues a Roman admiral, Arrius. The admiral adopts Ben-Hur as a son and he grows up as an excellent chariot racer, believing that his family is dead.  Ben-Hur gets his revenge on Messala by defeating him in a chariot race and leaving him fatally injured. With his last breath, Messala tells Ben-Hur that his mother and sister are not dead but living in a village of lepers. Having been converted to Christianity, Ben-Hur's mother and sister are cured of their leprosy at the crucifixion of the Christ. Following the novel's structure, the film of BEN-HUR parallels the story of Judah Ben-Hur and the contemporaneous life of Christ, switching back and forth between scenes of each and bringing them together at times. With its four million dollar budget BEN-HUR is the most expensive silent film ever made. The grand scale of this elaborate production is beautifully captured with excellent camera work. It is hard to remember this is pre-CGI, as the sea battle and the chariot race scenes are lengthy (over ten minutes) and spectacular. Fatal accidents among the racers were captured and later led to new safety rules. To someone who is not a silent film connoisseur, the acting is unexpectedly smooth and subtle. The film includes selected scenes (such as the Nativity scene) in two-strip Technicolor, which at the time of its release was considered in poor taste. For many modern audiences who might be more familiar with the 1959 remake (starring Charlton Heston), Niblo's BEN-HUR is certainly, as its advertising claimed, "The Picture Every Christian Must See"—and perhaps non-Christians as well. Live piano accompaniment by Dave Drazin. (1925, 143 min, Unconfirmed Format) HB
More info at

Stanley Kubrick's THE SHINING (American Revival)
Gene Siskel Film Center - Saturday, 3pm and Monday, 7:30pm

Though it had been made famous already by ROCKY, it wasn't until THE SHINING that the Steadicam yielded an aesthetic breakthrough in movies. Garrett Brown's innovation—a gyroscope mounted to the bottom of a camera, which allowed cinematographers to create hand-held tracking shots that didn't record their own movement—became in Kubrick's hands a supernatural presence. The film's justly celebrated Steadicam shots evoke a cruel, judgmental eye that does not belong to any human being, a perspective that's harrowing in its implications. (GOODFELLAS, SATANTANGO, and Gus Van Sant's ELEPHANT, to name just three examples, are inconceivable without the film's influence.) In this regard, the horror of THE SHINING makes manifest one subtext running through all of Kubrick's work: that humanity, for all its technical sophistication, will never fully understand its own consciousness. Why else would Kubrick devote nearly 150 takes to the same scene, as he did several times in the film's epic shooting schedule? With the only exceptions being other movies directed by Stanley Kubrick, no one moves or speaks in a film the way they do in THE SHINING. Everything has been rehearsed past the point of technical perfection; the behavior on screen seems the end-point of human evolution. What keeps it all going? (To invoke another great horror film of the era: the devil, probably.) The demons of the Overlook Hotel may very well be a manifestation of the evil within Jack Torrance, a recovering alcoholic who once nearly beat his four-year-old son to death. Or they could be, like those Steadicam shots, evidence of an alien consciousness here to judge the vulnerabilities of mankind. Kubrick never proffers an explanation, which is why THE SHINING is one of the few horror films that actually remains scary on repeated viewings. Nearly every effect here prompts some indelible dread: the unnatural symmetry of Kubrick's compositions; Shelly Duvall's tragic performance (which suggests that horrible victimization is always just around the corner); and the atonal symphonic music by Bartok, Lygeti, and Penderecki that make up the soundtrack. (1980, 144 min, 35mm) BS
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Rodney Ascher's ROOM 237 (New Documentary/Essay)
Gene Siskel Film Center - Saturday, 5:45pm and Thursday, 6pm

Filmmaker Rodney Ascher's presence is felt only subtly in this documentary exploration of the supposed mysteries contained within Stanley Kubrick's THE SHINING (1980). Instead of making himself a character, Ascher turns his narration over to five SHINING devotees, each with their own idiosyncratic overarching theory of the film's deeper meaning. ROOM 237's narrators are never shown—a wise move since it would expose the cine-savants to our skeptic's gaze—their voices weave in and out over shots of the SHINING, other Kubrick films and stock footage, sometimes seen in slow motion, sometimes paused and digitally zoomed to highlight disturbing details. The overall effect is like an extended artful YouTube conspiracy video, drawing us into the mad minds of its creators. The theories range from the absurd (one narrator's odd insistence that a skier in a poster is actually a minotaur), to the convincing (the genocide of the American Indians as a pervasive theme in THE SHINING), to the beautifully coincidental (poignant juxtapositions when the film is projected over itself backwards), but what (most of the) narrators have in common is a sort of Talmudic faith in the omniscient intentionality of Kubrick—every continuity error, every prop, is analyzed. We don't have to share their Kubrick-deism to be fascinated by the documentary. What ROOM 237 is about, ultimately, is the interaction between audience and art. The architect narrator brings special attention to spatial detail and her analysis, while sometimes farfetched, helps us better understand a film where a building is one of the main characters. In the same way, the holocaust scholar brings a deep knowledge of historical atrocity and if his interpretation is a trifle one-sided, it still helps us to put a film about the violent reverberations of the past into a wider context. Surprisingly, the seemingly contradictory theories only serve to bolster each other, creating as one narrator puts it, a dream-like boiling down of all previous experience. "The power of the genie," he says, describing Kubrick's art, "is in its confinement." (2012, 102 min, DCP Digital Projection) ML
More info at

Stanley Donen's CHARADE (American Revival)
Music Box Theatre - Saturday and Sunday, 11:30am

Which dish is more difficult to prepare: beef stew or a lemon soufflé? Meat-and-potato dramas and action yarns are a dime a dozen. Light movies, fun movies, "frivolous" movies are the most difficult movies to make, requiring exquisite balance to succeed. Almost as difficult is any movie aspiring to the descriptor "Hitchcockian." CHARADE, which falls under both categories, improbably, sweetly, and unfussily pulls it off. The presence of Cary Grant is, of course, a key ingredient; Audrey Hepburn is another. Together they're both chic and playful, and perfect interpreters of Peter Stone's screenplay, which is both a satire of NORTH BY NORTHWEST and an homage. Nearly every character has a spare identity or two to call upon as needed, as much for the mechanics of the plot as for the audience's amusement. Donen choreographs the action in a fleet style which never drags or risks heavy-handedness. Also not to be overlooked is Henry Mancini's score. He was the only composer in filmdom capable of such delightful cues as "Latin Snowfall," "The Drip-Dry Waltz," and "Mambo Parisienne." Anyone who thinks of CHARADE as just tossed-off fluff should watch THE TRUTH ABOUT CHARLIE, the leaden retread. Even as gifted a filmmaker as Jonathan Demme couldn't keep his soufflé from falling. (1963, 113 min, Unconfirmed Format) RC
More info at

Carl Th. Dreyer's THE PASSION OF JOAN OF ARC (Silent French Revival)
Facets Cinémathèque - Sunday, Noon

Praised effusively upon its release by critics who instantly regarded it as a belated vindication for the whole art of cinema (do seek out Harry Alan Potamkin's review), THE PASSION OF JOAN OF ARC was also recognized as the capstone of an expiring medium. This is a proudly silent movie, one that integrates the intertitle into its rhythm better and more comprehensively than any other example I can name. (Astonishingly, rather than interrupting the flow of Dreyer's breakneck montage, the titles actually serve as graphic punctuation.) It's also a perverse one—stripped down to essentials, focusing on faces even though Dreyer's investors paid for enormous and authentic sets barely glimpsed in the finished film. When we see a man in very modern-looking glasses in the final sequences, this possible anachronism registers as something else: Dreyer and Falconetti have truly created a living Joan, larger than liturgy and beatification and indeed, larger than her own time. The film itself was not so lucky. Its original cut lost in a fire, with a subsequent recut lost in another fire, PASSION played for many years in a version cobbled together from outtakes. (Appropriately enough, an original print of the first Danish version turned up in a mental hospital in the 1980s.) Now cited by Sight and Sound as one of the ten greatest films ever made, it may be difficult to treat PASSION as the radical film that it is. Showing with the Richard Einhorn Voices of Light oratorio score, which necessitates running the film at 24 frames per second, instead of the intended 20. Live excerpts from Chicago Opera Theater's production of Verdi's Giovanna d'Arco will be featured after the film, as well as a discussion led by Andreas Mitisek, COT's General Director. (1928, 82 min, Unconfirmed Format) KAW
More info at

Benjamin Christensen's HAXAN: WITCHCRAFT THROUGH THE AGES (Silent Swedish Revival)
Logan Square International Film Series - Wednesday, 8pm (Free Admission)

Nearly a century after it was first released, this one-of-a-kind whatsit "documentary" about black magic, paganism, and assorted devilry can be seen today as a curious precursor to several surprisingly different kinds of film. Certainly there's whiff of HAXAN in the medieval tales of Bergman. THE MAGICIAN, THE VIRGIN SPRING, and especially THE SEVENTH SEAL all quote its themes and images. Much later, Hammer would take Christensen's Northern European gothic elements and tart them up with gaudy color. (And a non-Hammer film, WITCHFINDER GENERAL, does nothing less than quote HAXAN while pointedly draining away the supernatural.) Last but not least, it also pioneered what might be called the Cecil B. DeMille Rule: so long as what's on screen is unambiguously labeled and presented as "evil," one can slip an abundant amount of wickedness past the censors (see: CLEOPATRA, MADAME SATAN, et al). You could trace a line from HAXAN to THE SIGN OF THE CROSS to "shockumentaries" like MONDO CAINE. In HAXAN there are several such astonishing scenes, including one where a group of women approach Satan and, one by one, kneel down and kiss his ass. No wonder a 60's re-release featured narration by William S. Burroughs. This screening will feature musical guest DJ Karl Meier. (1922, 87 min, DVD Projection) RC
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The Black Cinema House (6901 S. Dorchester Ave.) presents Frank Peregini's 1927 film THE SCAR OF SHAME on Saturday at 7pm. The program will feature a screening-specific live score by Peter Speer and Alejandro Acierto. There will be an introduction and post-film discussion with Sergio Mins, programmer of Chicago's Black Harvest Film Festival. Co-presented by the Experimental Sound Studio. RSVP to More info at

The Nightingale (1084 N. Milwaukee Ave.) presents ALL THE MEMORY IN THE WORLD + THE SON OF SAMSONITE on Tuesday at 8pm, with Columbus, Ohio based filmmaker Mike Olenick in person. Screening are his 2013 experimental narrative feature ALL THE MEMORY IN THE WORLS (72 min) and his 2002 short THE SON OF SAMSONITE (9 min). Unconfirmed Formats.

Eye & Ear Clinic (at SAIC, LeRoy Neiman Center, Sharp Bldg., 37 South Wabash Ave., 1st Floor) hosts film critic Adalberto Müller on Monday at 4:30pm. Müller, Associate Professor at the Universidade Federal Fluminense and currently a Visiting Fellow at the Film Studies program at Yale, will discuss the relationship of art and digital culture and how this relationship affects our understanding of nature and the world around. Free admission.

Chicago Filmmakers screens their annual Short Story Showcase on Wednesday at 6:30pm at the Ferguson Theater (Columbia College, 600 S. Michigan Ave.). Repeats at Chicago Filmmakers on September 14.

The Patio Theater hosts a screening of Chris Tyre's featurette P.S. (Unconfirmed Year, 45 min, Video Projection - Unconfirmed Format) on Friday at 8pm. More info here:

Also at the Gene Siskel Film Center this week: Fritz Lang's 1931 classic M (111 min, New Digital Restoration - 2K DCP Digital Projection) screens on Friday and Tuesday at 6pm; Lucy Mulloy's 2012 film UNA NOCHE (90 min, DCP Digital Projection) plays for a week; Yüksel Aksu's 2012 Turkish film ECOTOPIA (112 min, DCP Digital Projection) screens on Friday at 8:15pm and Saturday at 5:45pm; David Roach and Warwick Ross' 2013 documentary RED OBSESSION (75 min, DCP Digital Projection) is on Saturday at 3:30pm, Monday at 7:45pm, Tuesday at 6:15pm, and Wednesday at 8:15pm (see Siskel website for info on guests/events at the Saturday and Monday shows); Perry Henzell's 1972 Jamaican reggae classic THE HARDER THEY COME (120 min, DCP Digital Projection) is on Saturday at 8:15pm; and the UCLA Festival of Preservation series begins with Sidney Lumet's 1969 film THAT COLD DAY IN THE PARK (112 min, 35mm) on Sunday at 3pm and Wednesday at 6pm, and Charles Vidor's 1934 film DOUBLE DOOR (75 min, 35mm) on Sunday at 5:15pm.

Also at the Music Box Theatre this week: Atiq Rahimi's 2012 film THE PATIENCE STONE (102 min, Unconfirmed Format) and Brian DePalma's 2013 film PASSION both open; Ziad Doueiri's 2013 film THE ATTACK (102 min) continues; Gabriela Cowperthwaite's 2013 film BLACKFISH (83 min) is on Saturday at 1:30pm; and the Friday at Saturday Midnight film are Amos Sefer's 1972 film AN AMERICAN HIPPIE IN ISRAEL (95 min, Unconfirmed Format) and PASSION (see above). All unconfirmed formats, except where noted.

Also at Facets Cinémathèque this week: Xavier Dolan's 2012 film LAURENCE ANYWAYS (168 min, Unconfirmed Format) plays for a week run.

Landmark's Century Centre Cinema opens Jill Soloway's 2013 film AFTERNOON DELIGHT (95 min, Digital Projection - Unconfirmed Format) on Friday.

The Logan Theatre screens Brian Robbins' 1997 film GOOD BURGER (103 min, Unconfirmed Format) on Friday, Saturday and Monday at 10:30pm.

At the Chicago Cultural Center this week: the Cinema/Chicago international film series continues with Clarissa Campolina and Helvécio Marins Jr.'s 2012 Brazilian film SWIRL (90 min, DVD Projection) on Saturday at 2pm; and Roberto Girault's 2009 Mexican film THE STUDENT (95 min, Video Projection - Unconfirmed Format) on Thursday at 6:30pm (repeats on September 14). Free admission.

At the Chicago Public Library this week: Ethan Bensinger's 2012 documentary REFUGE: STORIES OF THE SELFHELP HOME (60 min, Video Projection - Unconfirmed Format) sceens on Saturday at 2pm at the Mount Greenwood Branch (11010 S. Kedzie Ave.) and on Wednesday at 6pm at the Roosevelt Branch (1101 W. Taylor St.), with Bensinger in person for both shows; and Nisha Pahuja's 2012 documentary THE WORLD BEFORE HER (60 min cut of 90 min film) is on Tuesday at 6pm at the Lincoln Belmont Branch (1659 W. Melrose St.). Free admission.

The Italian Cultural Institute (500 N. Michigan Ave.) screens Christian Bisceglia's 2006 film MATCHMAKER (92 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm.


OTHERKIN (2013, 11 min), a new video work by Chris Naka, opens at Julius Caesar (3311 W. Carroll Ave.) on Sunday and runs through September 29. Opening reception Sunday from 2pm-5pm. Hours: Saturday and Sunday, 1-4pm and by appointment.

Antena (1755 S. Laflin St.) opens the show "How Many Feminists Does it Take to Change a Light Bulb?" ... ...."That's not funny." on Friday, with a reception from 6-10pm); the show runs through September 28 (hours by appointment only). Opening Night Live Performances by Julie Potratz and The Puterbaugh Sisterz; and a presentation by curator Sara McCool. "'How Many Feminists...' is a collection of comedic work by female video artists and performers who identity themselves as feminists and utilize humor as an important part of their work." With video work by Sarah Kelly, Marisa Williamson, Katya Grokhovsky, Rachelle Beaudoin, Andrea Hidalgo, Roxy Farhat, Em Meine, Cristine Brache, T. Foley, Lex Brown, Lilly McElroy, Molly Shea, Shana Moulton, and Becky Sellinger; and Photographic work by Rosemarie Romero.


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, and The Northwest Chicago Film Society's weekly screenings.

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CINE-LIST: September 6 - September 12, 2013

Patrick Friel


CONTRIBUTORS / Hyunjung Bae, Rob Christopher, Jason Halprin, Mojo Lorwin, Ben Sachs, Shealey Wallace, Kyle A. Westphal, Shealey Wallace, Darnell Witt

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