Chicago Guide to Independent and Underground Cinema
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:: Friday, JAN. 24 - Thursday, JAN. 30 ::


Brian De Palma's HI, MOM! (American Revival)
Doc Films (University of Chicago) - Wednesday, 7 and 9pm

Like many of Brian De Palma's films, HI, MOM! is an allusive and subversive curiosity that feels both familiar and entirely bizarre. The film draws from De Palma's mainstays—Hitchcock, Powell, Antonioni—hinting at issues like scopophilia, voyeurism, and other complexities surrounding the making and viewing of movies, but without the ostensible warnings that came with REAR WINDOW, PEEPING TOM, or BLOW UP. De Palma exhibits deep skepticism—or at best, ambivalence—toward the artifice of the cinema's recreation of feeling, emotion, and empathy. In a series of loosely interrelated scenes, De Palma's film features Jon Rudin (Robert De Niro) as a young, amateur pornographer intent on capturing sexual acts from his apartment window (given the scathing and sarcastic title "peep art"), a militant, and a leftist theater performer. Each segment shows a failed attempt to use art—even lowbrow forms of it—as a means of communicating understanding, love, etc., while simultaneously subverting it for satire. As Jon tries to connect with an earnest young woman, the film adopts hammy TV tropes, foregrounding the manipulative emotional devices used on audiences. HI, MOM!'s most jarring and complex sequence is a faux cinema verité-style documentary depicting a group of white liberals who wish to experience being black, albeit in a safe theater space. They are treated to a sort of hall-of-mirrors performance where they touch black skin, eat black-eyed peas, get painted in blackface, and are eventually mugged at gunpoint by the cast. This segment is reason enough to watch. HI, MOM! is undisciplined in many ways, but where those better-known films are contained and thematically anchored around the implications of the camera and the relaying of what it captures, HI, MOM!'s richness comes from its scattershot, allusive approach. (1970, 87 min, 35mm) BW
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Ken Loach's BLACK JACK (British Revival)
Gene Siskel Film Center - Sunday, 5pm and Monday, 8pm

Renowned for his naturalistic and hard-edged look at regional life in the United Kingdom, at first glance it seems odd for English filmmaker Ken Loach to adapt a children's story for film. Ten years after his award-winning film KES, which follows the life of a young boy in modern Yorkshire, Loach travels back in time to 1750, but stays in the same location, for BLACK JACK. Adapted from the children's novel of the same title, the film follows the dark and complex adventures of Tolly, a young boy who is forced to runaway from a French sailor known only as Black Jack after he is awakened from death. Along the way, Tolly meets and befriends Belle, a runaway girl his own age. Regarded as a lunatic, Belle is guilty of nothing more than fantastical daydreams. Together the pair joins up with a travelling tradeshow to find Tolly's sailing uncle and Belle's own family. Loach uses the same observational and gentle storytelling seen in KES and THE WIND THAT SHAKES THE BARLEY to explore the social history of England and its class dynamics. Cinematographer Chris Menges, who worked with Loach in the past, uses a mix of film formats to create the naturalistic look of the film. Although primarily a child's story, Loach does not glamorize his subject or minimize the discrimination of mental illness and he highlights the working- and lower classes' sympathetic attitudes towards Belle by contrasting it with the punishment inflicted upon her by her upper-class family. A recurring theme with Loach, the working classes are shown as the builders of England and the ones capable of making a positive future while the greedy and pompous are the ones with a harder lot in life. The combined effort between Loach, Menges, and the cast creates a remarkable fiction that just doesn't act as a historical piece, but also as one that reflects the class-consciousness and misconceptions of mental health still engrained in British society. (1979, 109 min, DCP Digital Projection) SW
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The Short Films of Kamran Shirdel (Documentary Revival)
Block Cinema (Northwestern University) - Wednesday, 7pm

Iranian documentarian Kamran Shirdel produced the majority of his scant filmography before the Iranian Revolution, making four highly-regarded shorts in the 1960s and a single narrative feature in 1972.
This program brings together his four '60s shorts. The first three, WOMEN'S PRISON (1965), WOMEN'S QUARTER (1966), and TEHRAN IS THE CAPITAL OF IRAN (1966), are social-issue works that focus on the plight of female prisoners, displaced women, and the Iranian poor respectively. Intended to inspire financial and popular support for their causes, the films were banned by the Shah's goverment for bringing unwanted attention to social ills the goverment preferred to keep invisible. The trio of shorts offers a fascinating, if formally conventional, glimpse into the dark side of life in a country whose image was dominated by the glamour of the Shah. The fourth film is something altogether different. THE NIGHT IT RAINED (1967) is a provocative and formally sophisticated investigative docu-drama about truth and fiction. Shirdel and his crew travel to a remote village to make a film about a young boy who was touted as a hero for preventing the derailment of a passenger train when a bridge has washed out. When they arrive, though, the story is not a simple as the press and reports would have it. Shirdel interviews journalists, politicians, townspeople, railroad workers, and, eventually, the boy himself in an attempt to unravel the conflicting web of "facts" and "lies." Shirdel's structuring of the various accounts cuts back and forth, allowing new information and new interpretations to slowly come forth, contradicting or confirming what came before, complicating the viewers' attempts to sort it out for themselves. The ending retains some slight ambiguity, but the evidence suggests a truth that is dispiriting at best. The simple elegance of the film, though, is a joy. Introduced by Northwestern University Professor Hamid Naficy, who recently published a four-volume history of Iranian cinema. (approx. 85 min total, DVCam Video) PF
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Michael Haneke's AMOUR (New International)
Logan Center for the Arts (915 E. 60th St.) - Monday, 7pm (Free Admission)

One of Haneke's overarching themes has always been society in relation to the individual; more specifically, how society's toxic elements (prejudice, the class system, mass media) exact their consequences on the individual. On the face of it, AMOUR appears to be an exception. At heart it's a two-person character study that takes place almost entirely within the confines of an apartment. Yet even this self-contained world is regularly invaded by the outside world. Family members. A former student. A healthcare worker. And, invisibly but devastatingly, society's view of how one is "supposed to" grow old. In other words, us. Just as forcefully as in FUNNY GAMES, when the murderer winks at the camera and thereby implies our complicity, AMOUR implicates us, the viewer. "Did you imagine that moving into your twilight years would be serene and dignified? Perhaps not." Isn't that what that pigeon's all about? The film will be followed by a discussion moderated by series programmer Karthik Pandian and Jesse Soodalter, MD. (2012, 127 min, 35mm) RC
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Lionel Rogosin's ON THE BOWERY (American Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm

A fascinating dead end in American film history, Lionel Rogosin's debut represents a one-off convergence of classically American humanist muckraking, the techniques of Dutch painting (namely Rembrandt), and Flaherty-style "documentation." A sort of Pedro Costa movie avant la lettre (though much more boisterous than that makes it sound), it's a work of consciously painterly portraiture, with a group of tramps rounded up to play themselves in a fictional framework that echoes the harsh realities of their lives. Populated with friendly swindlers and gloomy drunks, and photographed in chiaroscuro black-and-white around the cheap bars and sweaty flophouses of Manhattan's now-gentrified Bowery neighborhood, it earned Rogosin an Oscar nomination; after a half a century of obscurity, the film has been restored and rescued from unjust neglect. Showing with James Agee, Helen Levitt, and Janice Loeb's great 1948 short IN THE STREET (16 min, 16mm). SAIC Professor Bruce Jenkins lectures at the Tuesday screening. (1957, 67 min, 35mm) IV
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Nicholas Ray's BIGGER THAN LIFE (American Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) (Free Admission)

While Douglas Sirk was busy picking at the veneer 1950s American society—finding trouble in paradise via his biting melodramas and his darkening of Rock Hudson's romantic image—Nicholas Ray attacked the decade's complacency and social ills more directly. BIGGER THAN LIFE feels like it should be included among the mad rush of anxiety-ridden science fiction films of the time. Just as overblown and beautiful as Ray's perverse western JOHNNY GUITAR, BIGGER THAN LIFE is it's own kind of perversion—it's what would happen if The Dick Van Dyke Show had been left to rot. James Mason plays an overworked schoolteacher on his way from nausea to Middle American insanity. Given an experimental drug intended to cure his irregular blackouts, Mason's Middle American mores are set on overdrive (mass consumerism, wife hating, and hyper-enthusiasm for sports). This was Ray's third film shot in 'Scope and it's here that he masters the art of telling two stories at once. The film's characters and its contrived society close in and give way at the same time, balancing a world of cartoons with a world of people, and emulating the dizzy feelings of its leading man. (1956, 95 min, 35mm) JA
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Carlos Reygadas' POST TENEBRAS LUX (New Mexican)
Doc Films (University of Chicago) - Sunday, 7pm

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 Malick'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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Charles Laughton's THE NIGHT OF THE HUNTER (American Revival)
Gene Siskel Film Center - Sunday, 3pm and Thursday, 6:15pm

Thought now considered a classic, at the time of THE NIGHT OF THE HUNTER's release in 1955 the American critics and public rejected it; Laughton's wife Elsa Lanchester later remembered, "It just broke his heart." In 1954, the great author and film critic James Agee adapted Davis Grubb's bestselling novel The Night of the Hunter, which is loosely based on a series of actual crimes in rural West Virginia during the Great Depression.  In Laughton's Southern Gothic film, the dangerous Reverend Harry Powell (Robert Mitchum) meets a condemned man named Ben Harper in prison, who accidentally reveals that he hid $10,000 in stolen money somewhere in his home. After he gets out of jail, the preacher seeks out Ben's widow Willa (Shelley Winters) and her children John (Billy Chapin) and Pearl (Sally Jane Bruce); he even seduces Willa into marrying him. But Powell shifts his attention to John and Pearl when he suspects they know the money's location, and the children in turn flee in fear from their home. As Laughton crafted his story and its imagery, the work of the American cinematic pioneer D. W. Griffith primarily influenced him. For this new filmmaker, Griffith mastered a heightened, poetic melodrama, and Laughton aspired to recapture the power of his silent cinema. At the same time, Laughton and cinematographer Stanley Cortez also applied the techniques of German Expressionism to render this strange fairy tale of the Deep South. In his review of THE NIGHT OF THE HUNTER in the Chicago Reader, critic Dave Kehr specified, "Laughton's direction has Germanic overtones—not only in the expressionism that occasionally grips the image, but also in a pervasive, brooding romanticism that suggests the Erl-King of Goethe and Schubert.  But ultimately the source of its style and power is mysterious—it is a film without precedent and without any real equals." (1955, 93 min, 35mm) CW
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Frederick Wiseman's AT BERKELEY (New Documentary)
Gene Siskel Film Center - Wednesday, 6:30pm

It's hard to tell whether Frederick Wiseman is an idealist or a cynic. Many of his earlier films, including the infamous TITICUT FOLLIES (1967) and the lesser-known ESSENE (1972), reflect the insidiousness of the institutions that they're portraying, while some of his more recent films, in particular BALLET (1995) and LA DANSE (2009), reveal a certain hopefulness in their depiction of rigorous dedication and irreproachable aesthetic beauty. Wiseman's 38th feature-length documentary, AT BERKELEY, certainly won't provide any definite answers to that dilemma one way or the other; in fact, it serves to present Wiseman as more of a polarizing figure than ever before, but with such a subtlety that only Wiseman is capable of achieving. Though it sometimes serves as an overview of the nation's preeminent public university, with many references made to Berkeley's colorful past (including scenes taking place in a cafe named after the Free Speech Movement of the mid-60s), the impetus behind the film's 'narrative' arc is the state of California's progressive disinvestment in public higher education. At the beginning of the film it's revealed that the state of California contributed only 16% to the university's overall operating budget that year, down significantly from years before when the university had already experienced significant cuts. Wiseman takes care to remain impartial to those affected by the downsizing, giving as much attention to a staff meeting at which it's announced that hundreds of low-paying jobs were saved by the previous year's furlough requirements as he does to a middle class student's tearful declaration of guilt over asking her parents to finance her education. One might think that, considering the political slant of some of his earlier films, he'd be more firmly on the side of the student, but just as much consideration is given to the beleaguered administrators. As he strives above all else for fairness, it's no wonder that Wiseman reflects the October 7, 2010 student protests as being a dismal display of disorganized and unrealized idealism rooted in a radical form of entitlement. At the protests, a commanding young activist declares that tuition should be free, a seemingly pure aspiration that conflicts with the activist group's contradictory list of demands. In a staff meeting following the disbandment of the sit-in, then-chancellor Robert Birgeneau decries the group's lack of focus, almost as if he would have taken them more seriously had their protest resembled those of his heyday. A decidedly bitter scene, it seems that Wiseman has lost faith both in the institution and in those taking it on. A few scenes later, a group of veterans discuss what it means to them to have been accepted at Berkeley- seemingly insignificant, it resembles many of the film's previous interludes meant to reflect daily life on the Berkeley campus, fiscal uncertainty aside. But in that moment, during which the campus' least radical students ponder what it means to have moved from one institution to another, one gets a glimpse of the hope Wiseman has for those operating within the machine. (2013, 244 min, DCP Digital Projection) KS
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Bill Siegel's THE TRIALS OF MUHAMMAD ALI (New Documentary)
Block Cinema (Northwestern University) - Thursday, 7pm (Free Admission)

Metaphors abound in reviews of Bill Siegel's THE TRIALS OF MUHAMMAD ALI, and appropriately so. Not only does the sport that the film's subject is a champion of provide limitless opportunities for allusion, but the subject himself, formidable boxer Muhammad Ali, was once a veritable pull-quote factory whose verbal fervor was as conspicuous as his physical acumen. Nonetheless, this critic will throw one more onto the pile by comparing not the film's subject or his out-of-the-ring battles to his in-the-ring prowess, but by comparing the film itself to the sport which Ali dominated. Much like a boxing match, Siegel's film, the latest from Chicago-based documentary company Kartemquin Films, takes Ali's most significant conflict and presents it as a series of smaller conflicts, or "rounds," that result in an unceasing triumph of the man over matter. Instead of focusing on Ali's physical accomplishments, Siegel focuses on the period of his life during which the boxer was as equally known for his political and religious rebellion as he was for his prodigious sportsmanship. In 1964, soon after becoming the heavyweight champion of the world, Ali joined the Nation of Islam and changed his name first from Cassius Clay to Cassius X and then famously, and finally, to Muhammad Ali. A few years later, during the height of the Vietnam War, Ali refused induction into military service on the grounds that the aforementioned religious convictions prevented him from doing so. Ali soon found himself thrust from the limelight into the shadows as his boxing license was revoked and he was sentenced to five years in prison for draft evasion. Along the way, Ali was involved with a variety of cultural figureheads, including high-profile members of the Nation of Islam such as Louis Farrakhan, Elijah Muhammad, and Malcolm X, and disparaged by sports heroes of a similar stature to his own, such as Jackie Robinson and Joe Louis. The resulting struggle of this several-year period, arguably his most difficult fight, also produced his most important win; in 1971, the Supreme Court overturned his previous conviction in a unanimous ruling. Despite claims that the film focuses on an aspect of the boxer's mythology not often touched upon, such incidents from Ali's life were sufficiently acknowledged in Michael Mann's 2001 biopic ALI and the HBO film MUHAMMAD ALI'S GREATEST FIGHT (Stephen Frears) from earlier this year. However, as a documentary, and an expertly paced one at that, it provides a happy medium between expansive legend and centralized nuance. Siegel already exhibited such skill as co-director of the Academy Award-nominated THE WEATHER UNDERGROUND (2002), and his representation of Ali as something of an activist calls back to that first film. (Siegel is also proving himself as an antithesis to the Ken Burns-style of long-form documentary filmmaking, packing in just as much subject matter in a film more suitable for enjoyable theatergoing.) The film also employs expert use of archival footage, as demonstrated by the much-lauded opening sequence which contrasts two clips that set the tone for the rest of the film: in one, Ali is criticized by television host David Susskind for his political dissidence, while in the other, taking place several decades later, former president George W. Bush presents Ali with the Medal of Freedom. Like with any great fight from history, the viewer goes into it knowing of how it began and how it ended. This film covers the many rounds in between, those that are either ignored in lieu of the sensationalistic highlights or buried under seeming societal amelioration. (2013, 94 min, DCP Digital Projection) KS
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The Nightingale (1084 N. Milwaukee Ave.) presents What We Do All Day on Friday at 7pm (Free admission). This program, co-presented by the University of Chicago and the Video Data Bank, serves as a teaser for a three-day festival in May celebrating the life and work or Studs Terkel. The program will include readings from Terkel's celebrated book Working, read by local literary light Mairead Case, and screenings of WORK SONG (David Sherman, 2005), EVERYDAY PEOPLE (rough cut) (JoAnn Elam, 1979), DAD'S STICK (John Smith, 2012), DEAR BILL GATES (Sarah Christman, 2006), WINDOW CLEANING IN SHANGHAI (Laura Kissel, 2011), and WORKERS LEAVING THE FACTORY (DUBAI) (Ben Russell, 2008, 16mm). Digital Projection except where noted; on Wednesday at 7pm, threewalls Gallery presents Screenings from the archives: documents of the feminist art movement, showing in conjunction with their current exhibit of work by Faith Wilding. Screening are ATMOSPHERES: DURATION PERFORMANCES (excerpt) (Judy Chicago, 1971) and the feature documentary NOT FOR SALE: FEMINISM AND ART IN THE USA DURING THE 1970s (Laura Cottingham, 1998). DVD Projection.

The Museum of Contemporary Art presents Stress/De-Stress, a live film performance event, on Tuesday at 6pm. The program begins with a live 16mm projector performance work by local filmmaker Ian Curry. Following is a multi-projector/mixed media performance that incorporates readings by Mairead Case and Edward Crouse, live music by Joshua Dumas, and excerpts of films from the collection at the Chicago Film Archives. The event is co-presented by the Chicago Film Archives and The Nightingale, and is organized by the Nightingale's Christy LeMaster. Free with museum admission; Tuesdays are free for Illinois residents.

The annual B-Fest at Northwestern University (Norris University Center McCormick Auditorium) takes place from 6pm Friday to 6pm Saturday. For a listing of what is showing and other information, visit

The Film Studies Center (University of Chicago) screens Du?an Makavejev's 1985 film THE COCA COLA KID (98 min, 35mm) on Friday at 7pm. The film will be preceded by selected shorts. The screening takes place at the Logan Center for the Arts (915 E. 60th St.) Free admission.

Gene Siskel Film Center this week: Jillian Schlesinger and Laura Dekker's 2013 documentary MAIDENTRIP (82 min, DCP Digital Projection) plays for a week; Giuseppe Tornatore's 2013 film THE BEST OFFER (131 min, DCP Digital Projection) begins a two-week run; Dwayne Johnson-Cochran's 2014 documentary BE KNOWN (94 min, DCP Digital Projection) screens on Friday at 8pm, Saturday at 5:15pm, and Monday at 7:45pm, with Johnson-Cochran and the film's subject, jazz musician Kahil El'Zabar, in person at all three shows; and Jordan Freese's 2014 documentary AN HONEST LIVING (82 min, HDCam Video) is on Saturday at 8pm and Thursday at 8:15pm, with Freese in person at both shows.

Also at Doc Films (University of Chicago) this week: Tim Burton's 1989 film BATMAN (126 min, 35mm) is on Friday at 7pm (with screenwriter Sam Hamm in person) and 10pm and Sunday at 1pm; Andrew Dosunmu's 2013 film MOTHER OF GEORGE (107 min, DCP Digital Projection) is on Saturday at 7 and 9:15pm and Sunday at 3:45pm; George Stevens' 1935 film ALICE ADAMS (99 min, 35mm) is on Monday at 7pm; the re-scheduled screening of George Cukor's 1933 film LITTLE WOMEN (115 min, 35mm) is on Monday at 9:15pm; Cheh Chang and Hsueh Li Pao's 1972 Hong Kong film THE DELIGHTFUL FOREST (94 min, 35mm) is on Tuesday at 7pm; Cheryl Dunye's 1996 African American lesbian drama THE WATERMELON WOMAN (90 min, 16mm) is on Thursday at 7pm; and John Woo's 1997 film FACE/OFF (138 min, 35mm) is on Thursday at 9pm.

At the Music Box Theatre this week: Felix Van Groeningen's 2012 film THE BROKEN CIRCLE BREAKDOWN (111 min) and Philipp Kadelbach's 2013 German TV mini-series GENERATION WAR PART 1 (Unconfirmed Running Time) both open; Paolo Sorrentino's 2013 film THE GREAT BEAUTY (142 min, DCP Digital Projection) continues; Joe Swanberg's 2014 film HAPPY CHRISTMAS (78 min) is on Thursday at 7:30pm, as a Sundance Selects presentation. Swanberg in person; Lloyd Bacon's 1950 noir-comedy rarity THE GOOD HUMOR MAN (80 min, 35mm) is on Sunday at 11:30am; and Adrián García Bogliano's 2012 horror film HERE COMES THE DEVIL (97 min) and Neil Breen's 2013 thriller FATEFUL FINDINGS (100 min) both screen on Friday and Saturday at Midnight. Unconfirmed Formats except where noted.

Chicago Filmmakers (5243 N. Clark St.) presents two films by local filmmaker Joseph R. Lewis on Friday at 7:30pm. Screening are Lewis and co-director Lew Ojeda's 2013 exploitation documentary SISTERS OF NO MERCY (53 min, Video Projection - Unconfirmed Format) and Lewis and Dave Asher's 2013 rock opera SCI FI SOL (46 min, Video Projection - Unconfirmed Format) screens. Co-presented by The Underground Multiplex. Artists in person. On Saturday at 7:30pm, it's Erik Hammen's 2012 found footage "epic silent space opera" TIME OF THE ROBOTS (75 min, Video Projection - Unconfirmed Format); repeats on Wednesday at 6:30pm at Columbia College (Ferguson Theater, 600 S. Michigan Ave.).

Also at Block Cinema (Northwestern University) this week: Thom Andersen and Noël Burch's 1996 (revised 2013) essay film RED HOLLYWOOD (114 min, Digital Projection - Unconfirmed Format) is on Friday at 7pm; and a double feature of Josef von Sternberg's 1927 film UNDERWORLD (81 min, 35mm) and Clarence Badger's 1927 Clara Bow film IT (72 min, 35mm) is on Saturday starting at 2pm. Live piano accompaniment by Dave Drazin.

At Facets Cinémathèque this week: Shana Betz's 2013 film FREE RIDE (88 min, Unconfirmed Format) plays for a week run.

The Logan Theatre screens George P. Cosmatos and Kevin Jarre's 1993 film TOMBSTONE (130 min, Digital Projection - Unconfirmed Format) on Friday, Saturday, and Monday at 10:30pm; and Kevin Costner's 1990 film DANCES WITH WOLVES (181 min, Digital Projection - Unconfirmed Format) on Thursday at 9pm.

The Whistler (2421 N. Milwaukee Ave.) presents the Odd Obsession Foreign Film Series & Dance Party on Saturday at 7pm. Screening is Ratno Timoer's 1984 Indonesian film THE DEVIL'S SWORD (90 min, Video Projection - Unconfirmed Format). Screening at 7pm; dance party from 9pm-3am.

The Chicago Public Library screens Yoruba Richen's 2013 documentary THE NEW BLACK (80 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm at the Harold Washington Library Center (400 S. State St.). A panel and discussion with Richen and civil rights activist Maxim Thorne follows the screening; and Darryl Pitts' 2012 documentary REEL BLACK LOVE (70 min, Video Projection - Unconfirmed Format) is on Thursday at 5:30pm at the Woodson Regional Branch (9525 S. Halsted St.). Director Pitts in person. Free admission.

The Instituto Cervantes (31 W. Ohio St.) screens Benoît Bodlet and Chechu García-Berlanga's 2007 documentary HUELVA FLAMENCA (80 min, Video Projection - Unconfirmed Format) on Friday at 6pm. Co-director (and current Instituto Cervantes Guest Artistic Director) Berlanga in person. Free admission.

The Italian Cultural Institute (500 N. Michigan Ave.) screens Michelangelo Antonioni's 1950 film THE STORY OF A LOVE AFFAIR (98 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Free admission, but RSVP at

The DuSable Museum screens Deborah Kaufman and Alan Snitow's 1997 documentary BLACKS AND JEWS (85 min, Video Projection - Unconfirmed Format) on Thursday at 6:30pm. Free admission.



The Art Institute of Chicago has two video installations currently running. Isaac Julien's The Long Road to Mazatlán is on view until March 30 (Gallery 186) and Amar Kanwar's The Lightning Testimonies is on view until April 20 (Gallery 291).

The Mission (1431 W. Chicago Ave.) opens the show Dis/placement on Friday, with a reception from 6-8pm. The show runs through February 22. Included are video and photography works by Ella de Burca (Dublin, Ireland), Cameron Gibson (Chicago), Orr Menirom (Tel Aviv/Chicago), and Bryan Zanisnik (New York).

The Museum of Contemporary Art continues Chicago Works: Lilli Carré through April 15, 2014. The show includes a video work by Carré.

The Museum of Contemporary Art continues City Self through April 13. The show includes Sarah Morris's 2011 film Chicago.



The Portage Theatre remains closed for the foreseeable future.

The Patio Theater continues to have their programming on hiatus.

The Northwest Chicago Film Society is on a brief hiatus this January and plans to resume screenings in February.

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CINE-LIST: January 24 - January 30, 2014

Patrick Friel

CONTRIBUTORS / Julian Antos, Rob Christopher, Mojo Lorwin, Kathleen Sachs, Ignatiy Vishnevetsky, Shealey Wallace, Brian Welesko, Candace Wirt, Darnell Witt

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