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:: Friday, MAY 8 - Thursday, MAY 14 ::

CRUCIAL VIEWING

Orson Welles' CHIMES AT MIDNIGHT (International Revival)
Doc Films (University of Chicago) - Wednesday, 7 and 9:30pm

A thoroughly thrilling experience, inspiring on every conceivable level, and one of the saddest films ever made. Welles made a life-long study of Shakespeare, adapting him on stage many times and making, in MACBETH and OTHELLO, two of his best movies. As a very young man, he attempted a mammoth adaptation he called Five Kings, combining scenes from the eight history plays revolving around the War of the Roses and The Merry Wives of Windsor, a project that here, transformed from a youth's ambition to a mature artist's melancholy, forms the seed for CHIMES AT MIDNIGHT, a sprawling, strange, and deeply big-hearted melodrama of love and death, honor and betrayal, cowardice and duty, profligacy and desperation. In his films he has always demonstrated a fascination with texture, with visual patterning, with the complex choreographies of incoherent human figures made possible through spaces of grotesque and labyrinthine depth. This is nowhere more apparent than here. In a series of grand kinetic dances, Welles arranges haunting specters of death, swirling amongst and engulfing the lusty, hot-blooded, and immanently life-loving commoners and nobles that populate Shakespeare's version of history. There is no-one so ignoble not to deserve the adoration of Welles's camera, or the dignity of Welles's staging. As Hal, the wastrel son of the usurper King Henry IV, Keith Baxter deserves particular note: he is as affectionate and as cruel as can be borne by one mere character, and his masterful portrayal of Hal's contradictions mirror the contradictions at the heart of the film. No one for more than a moment here is what he or she seems, no space is wholly trustworthy, and no plot truly secret, for the most serious of all games, and the most pleasurable, is that which is played with one's own life as the stake and with no hope of surviving to collect the winnings save in the songs of our loved ones. In short, this film is magic itself, a celebration of cinema as the grandest of tricks, that which alone can transform the past into the present as palpably as memory, and the whole of the material world into the effervescence of poetry. The greatest film by the greatest director. (1965, 119 min, 35mm) KB
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More info at www.docfilms.uchicago.edu.


Hou Hsiao-hsien's FLOWERS OF SHANGHAI (Taiwanese/Japanese Revival)
Gene Siskel Film Center - Sunday, 3pm and Wednesday, 6pm

Is it surprising that Hou Hsiao-hsien should pivot from a series of films exploring the reverberations of Taiwanese history (CITY OF SADNESS; GOOD MEN, GOOD WOMEN) to one of the most insular, claustrophobic, and beguiling period films ever made? Set in a high-end brothel towards the end of the 19th century, FLOWERS OF SHANGHAI refuses assimilation, refuses any convenient context or trajectory. (To paraphrase Joyce, history is a nightmare from which no one particularly cares to awake.) Perhaps its true place is alongside the virtuoso, set-bound films of earlier era: Sternberg's THE SHANGHAI GESTURE and ANATAHAN, or Fejos' BROADWAY. Despite its languorous obscurity, FLOWERS OF SHANGHAI exercised a profound influence over the festival cinema of the decade that followed: Wong's IN THE MOOD FOR LOVE abandoned the hyperkinetic style of Christopher Doyle for the slow-burning ambiance of cinematographer Mark Ping Bin Lee, the place-bound rigor echoed throughout Tsai's GOODBYE DRAGON INN and Nolot's PORN THEATER, and Bonnello's L'APOLLONIDE was essentially an R&B remix. Viewed today, FLOWERS OF SHANGHAI also seems like a particularly stubborn tribute to the hard physicality of celluloid itself--a delicately choreographed reverie of 19th century wonder with a world of unspeakable sex and violence just outside the frame. (1998, 125 min, New 35mm Print) KAW
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More info at www.siskelfilmcenter.org.


The Chicago Underground Film Festival
Logan Theater - Opens Wednesday, Runs Through Sunday, May 17

A couple weeks back at the Lake FX Summit + Expo, a panel of Chicago Underground Film Festival alumni filmmakers struggled to define what "underground" means today, and looking at this year's programming you can understand why defining that word is so daunting. Does underground include international co-productions with much-lauded cinematography? Or highfalutin' academic work by tenured professors? Or, perhaps, more traditionally, movies about Bigfoot, jerking off; or how those recent shitty Batman movies' foretold mass shootings? Festival Director Bryan Wendorf simply doesn't worry about the definition: "It's underground if it's in the festival." So the ever-shifting definition of underground is driven by the personalities and passions of those behind the scenes of CUFF, pursuing the oddities, sniping at the mainstream, and keeping alive the traditions of dirty, silly, bloody, brainy films. This year, the gang did a bang-up job. The festival opens Wednesday (8pm) with a film by the singular named Khavn, whose insane productivity draws comparisons to Fassbinder and Miike. RUINED HEART: ANOTHER LOVESTORY BETWEEN A CRIMINAL AND A WHORE (2014, 73 min., Video Projection) makes its intentions as blatant and direct as its title. It is an intense and lovely movie, with absolutely gorgeous cinematography by Wong Kar-Wai's longtime collaborator Christopher Doyle. Thursday kicks off with the feature L FOR LEISURE (see below), and also features a follow up to last year's wildly successful Critical Paranoia program, a bracing headlong dive into the world of YouTube conspiracy theory videos--this time covering the variety of bat-shit crazy connections that people try to make between DARK KNIGHT RISES and recent tragedies (9pm). Other highlights on the second day include Shorts 1: sonnet entitled how to ruin the world (7pm), which features the dizzyingly fractured SPECIAL FEATURES by James N. Kienitz Wilkins, new works by the local (and former local) Jesse McLean and Deborah Stratman, and the always fantastic Alee Peoples, with NON-STOP BEAUTIFUL LADIES. JBM
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Lev Kalman and Whitney Horn's L FOR LEISURE (New Experimental)
Thursday, 6:30pm

In their superb follow-up to 2010 CUFF-Winner BLONDES IN THE JUNGLE, Lev Kalman and Whitney Horn teleport from a demented Honduran spring break in 1987 to the sites of luxurious vacations from the Long Beach University 1992-93 academic year. Horn's cinematography loves sunlit beauty and human absurdity, juxtaposing awesome, glowing beach and forest panoramas with dipshits on rollerblades and skateboards, her 16mm evoking the 90210 color palette and aspect ratio. Under the cover of very funny mock-academic dialogue and the mellow wandering tempo of one vignette to the next, Kalman and Horn continue the subtle work of omission and implication they began in BLONDES. Professor Sierra Paradise (the outstanding Marianna McLellan) tips us off to the film's darker themes in the first few lines, as she lectures a colleague who is TAing Survey of Post-Apocalyptic Literature that "we underestimate how the post-apocalyptic fantasy effects reality, and how its erotic pull might be driving the decisions of our leaders, even unconsciously." In a gorgeous, nearly wordless segment called Christmas 1992 Selfoss, Iceland, one of our vacationing scholars reads a copy of Al Gore's Earth in the Balance while shaggy ponies peer over a low fence at him, quietly huffing clouds of breath. On Labor Day 1992 Sky Forest, CA, a group of white friends discuss the Los Angeles race riots with a mix of prurient awe and critical distance. From a world so comfortable, temperate, and lightly engaging, the looming social and environmental problems of our time are coated in unreality. Goofy sound-stage scenes of laser-tag 'FUTURE WARZ' illustrate exactly how unable our characters are to imagine the consequences of the cultural apex of leisure. At the heart of the film is a spooky encounter between four male grad students and a station-wagon full of teen girls that begins at a fast-food drive-thru: how hard can grown men try to seduce young girls without calling their own integrity into question? With two decades of hindsight, we can see this strategy driving 1990s neo-liberal policy, and continue to feel its environmental and economic repercussions. But L FOR LEISURE finds hope that the human need for natural beauty will change our script. The film's final lines, spoken to a beautiful dog, are both declaration and invitation: "the future is undetermined. Thank you. Are you ready?" Preceded by Jerzy Rose's 2014 short EN PLEIN AIR. (2014, 74 min, Video Projection) JF
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Also, see our blog http://cine-file.info/forum/ later this weekend for an interview with filmmaker Ernest J. Ramon, whose Critical Paranoia 2: Dark Night Rising takes place on Thursday at 9pm.
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More info at full schedule at http://cuff.org.


Asghar Farhadi's ABOUT ELLY (Contemporary Iranian)
Music Box Theatre - Check Venue website for showtimes

Western media typically presents Iran in reductive images of fundamentalist Islam, arid deserts, and threatening militarism. ABOUT ELLY quickly dispels these notions. A group of middle-class friends decide to spend a weekend with their families at a dilapidated seaside villa, and we see that their lives are not much different from our own. When the kindergarten teacher who is also invited along disappears suddenly, the film transitions from drama to psychological mystery. ABOUT ELLY raises many interesting questions both moral and sociological. How far will a person go with lies in order to protect the honor of another? What obligations do both men and women have to one another when the unthinkable occurs? The ramifications to these questions are devastating and life changing in the film. The interpersonal relationships presented are paramount to the film's emotional appeal and narrative. As the relationships degrade and the web of lies grows, the house lends itself as an apt metaphor for the characters themselves--dirty, broken, and hollow. Farhadi's use of muted, earthen colors only furthers the importance of everyone's baser urges and reactions. His mise en scene showcases short focal lengths to portray a sense of dishonesty when a character is out of focus or a sense of claustrophobia when true intentions are revealed. Water plays an important role in this film as well: the ever-crashing waves on the shores contribute to the relentless, foreboding feeling of dread that is omnipresent. Combined with the innocence of the children present, the bleak duality of man is fully realized. Dishonesty's ominous shadow casts largely as ulterior motives are actualized. ABOUT ELLY is one of the crown jewels of contemporary Iranian cinema. Its messages resonate powerfully long after the end credits roll. (2009, 119 min, 35mm) KC
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More info at www.musicboxtheatre.org.


ALSO RECOMMENDED

For Educational Purposes Only: The Jamaica Film Unit Works, 1951-1961 (Documentary Revival)
South Side Projections at the Washington Park Arts Incubator (301 E. Garfield Blvd.) - Saturday, 4pm

The third program in South Side Projections' "The Streets and the Classrooms" series centers on educational films made by the Jamaican Film Unit, a collective born of the British Colonial Film Unit and its Colonial Film Unit Training School in the West Indies. Only one film from the program was previewable: FARMER BROWN LEARNS GOOD DAIRYING (1951). It's the Unit's first film and was made a little over ten years before Jamaica officially gained independence. According to the Colonial Film: Moving Images of the British Empire website, three of the West Indies training school's inaugural students were natives, including Martin Rennalls, who not only directed FARMER BROWN but also headed the Jamaican Film Unit for two decades after its inception. (He praised and criticized the school in equal measure.) FARMER BROWN is an instructional film that was made to advise Jamaican dairy farmers on how to improve their milking techniques. Though significant for its place in the country's film history, elements of it reflect the insidious effects of colonialism on a nation poised for autonomy. As the Colonial Film website points out, it "establishes a clear contrast between the traditional methods adopted by the black farmers, and the modern methods proposed by the white 'instructor.'" Additionally, the film shows white Europeans as being the primary consumers of Farmer Brown's efforts rather than his countrymen. Despite these propagandistic biases, it and the other films in the program are an extraordinary reflection of a bygone era of filmmaking that's oft overlooked. Furthermore, they were vehicles for the many talented Jamaicans who comprised the Unit's ranks, including Rennalls and cinematographer Franklyn St. Juste, who later worked as a cameraman on the famous Jamaican crime film THE HARDER THEY COME. The other films in the program include LET'S STOP THEM (1953), about crop theft, and IT CAN HAPPEN TO YOU (1956), about the importance of treating venereal disease. Presented by professor Terri Francis from the Indiana University Department of Communications and Culture. (1951-61, approx. 56 min total, Video Projection) KS
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More info at http://southsideprojections.org.


Edward S. Curtis's IN THE LAND OF THE HEAD HUNTERS (Silent Documentary Revival)
Music Box Theatre - Saturday, Noon

So, finally, thanks to Milestone Films and UCLA Film & Television Archive, we have IN THE LAND OF THE HEAD HUNTERS back with us again, looking as close as possible to what moviegoers in 1914 saw. Or do we? The celebrated still photographer Edward S. Curtis, dogged chronicler of vanishing Native American tribes, faces, and rituals, set out to make an art film about the Kwakiutl people of British Columbia. There's legitimate anthropological interest here, albeit often subordinated to a melodramatic kidnapping plot. Curtis's dedication to authenticity was supreme and unyielding--indeed, it did not yield to the reality that the Kwakiutl had recently erected houses with modern innovations like glass windows. No matter--Curtis and his crew would build sets in the old style. The indigenous people would continue in their classically indigenous ways--down to the canoes that only the elders recalled. The more-native-than-thou ethos would prove enormously influential for the nascent documentary field; Robert Flaherty would take a similar approach in NANOOK OF THE NORTH, a film he was inspired to make after seeing HEADHUNTERS. He was one of the few. Despite a beautiful advertising campaign, HEAD HUNTERS produced pathetic box office returns. Discouraged, Curtis sold the rights to the Museum of Natural History in New York less than a decade later. Fragments of HEAD HUNTERS eventually wound up at Chicago's Field Museum, where they sat for decades before two art history professors sought to resurrect the film. Re-edited and re-released under the more p.c. moniker IN THE LAND OF THE WAR CANOES, Bill Holm and George Quimby's 1973 version passed off the film as a straight ethnographic documentary, complete with a soundtrack of Kwakiutl tribal music. But times have changed again. We now recognize the Kwakiutl people by their proper name, the Kwakwaka'wakw, and we value HEAD HUNTERS for its contradictions and its limitations, its wonders and its sorrows. A true restoration of the 1914 version is impossible--much footage is still missing, but the original intertitles have been recreated and the narrative gaps have been bridged with still photographs. UCLA's interpolations complicate the picture--by virtue of their stillness, these frozen moments instantly invite comparison to Curtis's famous photographs. It is a literal museum piece and it's more difficult than ever to treat HEAD HUNTERS as the thing that people saw in 1914: a thrilling romance, an exotic getaway, a movie. (As might be expected, the pictorial element often eclipses the narrative momentum; by the standard of 1914 cinema, it's closer to the tranquil meanderings of Maurice Tourneur or an Edison picture than to dynamism of Thomas Ince or D.W. Griffith.) Its meaning and mode of address keep shifting--and that probably won't stop any time soon. With live organ accompaniment by Dennis Scott.  (1914, 66 min, DCP) KAW
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More info at www.musicboxtheatre.com.


Stanley Kubrick's FULL METAL JACKET (American Revival)
Doc Films (University of Chicago) - Friday, 7 and 9:15pm, Saturday, 1pm, and Sunday, 1:30pm

The inverse of those maudlin male weepies about the terrible things that happen to "our boys" during war, Stanley Kubrick's queasy Vietnam flick is built on the idea that a war movie is just a crime movie without the police. Its famously protracted climax, where soldiers try to kill an enemy sniper, is made with the linear attention to action that defines a good heist scene; the difference is that the protagonists don't just get away--they march through the countryside singing in a scene scarier than anything in THE SHINING. Kubrick is often accused of being a misanthrope, but "disheartened humanist" is much more accurate. This is an exactingly realized work of profound disappointment. (1987, 116 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.


Stanley Kubrick's THE SHINING (American Revival)
Block Cinema (Northwestern University) - Thursday, 7pm (Free Admission)

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. They could be, like those Steadicam shots, 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, 142 min, 35mm) BS
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More info at www.blockmuseum.northwestern.edu.


MORE SCREENINGS AND EVENTS

The Black Cinema House (7200 S. Kimbark Ave.) presents An Evening with Yvonne Welbon on Friday at 7pm, featuring Welbon's 1995 documentary REMEMBERING WEI YI-FANG, REMEMBERING MYSELF... (30 min, DVD Projection) and excerpts of other work; Welbon will also be presenting her 1999 documentary LIVING WITH PRIDE: RUTH ELLIS @ 100 (60 min, DVD Projection) on Thursday at 7pm. Both screenings are free admission, but have limited seating; RSVP at http://rebuild-foundation.squarespace.com.

The Film Studies Center (University of Chicago) presents She Gone Rogue: An Evening with Zackary Drucker on Friday at 7pm, with Drucker in person. Screening are Drucker and Rhys Ernst's 2012 work SHE GONE ROGUE (min, Digital Video), along with three earlier works by Drucker: FISH: A MATRILINEAGE OF CUNTY WHITE-WOMAN REALNESS (2008), LOST LAKE (2010, with Van Barnes), and AT LEAST YOU KNOW: YOU EXIST (2011, with Flawless Sabrina). At the Logan Center for the Arts (915 E. 60th St.). Free admission, but tickets required (reserve tickets at http://filmstudiescenter.uchicago.edu/events/2015/she-gone-rogue)

Roots & Culture (1034 N. Milwaukee Ave.) presents Hovering: Videos by Nina Barnett and Ruth Anne on Sunday at 7:30pm, with Barnett in person. Screening are a selection of solo works by Barnett along with works made as the duo Ruth Anne (Nina Barnett and Robyn Nesbitt). (2007-15, approx. 60 min total, Video Projection - Unconfirmed Format)

The Karla Scherer Center (University of Chicago) presents Martin Scorsese and David Tedeschi's 2014 documentary THE 50 YEAR ARGUMENT (Unconfirmed Running Time, Digital Projection - Unconfirmed Format) on Saturday at 3pm at the Logan Center for the Arts (915 E. 60th St.). Co-director David Tedeschi in person. Free admission.

The Nightingale (1084 N. Milwaukee Ave.) and Tracers present WHATHAVEYOUDONEFORMELATELY? Media Series #001: Mothernism on Sunday at 5pm. The multi-media event with include videos by Selina Trepp, along with readings and discussion by Emily Lansana, Lise Haller Baggesen, Christa Donner, Lori M. Barett, and the REBIRTH youth poetry ensemble (featuring Maya Dru and Simone Allen).

Chicago Filmmakers (5243 N. Clark St.) presents May Shorts in the monthly Dyke Delicious series on Saturday at 8pm (7pm social hour). The program repeats on Wednesday at 6:30pm (no social hour) at Columbia College (Hokin Hall, 623 S. Wabash Ave.).

Also at the Gene Siskel Film Center this week: the SAIC FVNMAS Festival continues on Friday, with screenings beginning at 4:20pm; John Boorman's 2014 film QUEEN AND COUNTRY (115 min, DCP Digital) plays for a week, and his 1987 film HOPE AND GLORY (113 min, 35mm) screens on Saturday at 3pm and Tuesday at 6:15pm; Mary Dore's 2014 documentary SHE'S BEAUTIFUL WHEN SHE'S ANGRY (92 min, DCP Digital; check the Siskel website for guest speakers) plays for a week; Hayao Miyazaki's 1997 animated feature PRINCESS MONONOKE (134 min, DCP Digital; English subtitled) screens on Saturday at 3pm and Thursday at 6pm; Mami Sunada's 2013 documentary THE KINGDOM OF DREAMS AND MADNESS (118 min, DCP Digital) plays for a week; Paul Cowan and Amer Shomali's 2014 documentary THE WANTED 18 (75 min, DCP Digital) screens on Saturday at 8pm, Monday and Tuesday at 8:15pm, and Thursday at 8:30pm; and selections from the A Shaded View of Fashion on Film festival screen on Sunday at 1pm.

Also at Doc Films (University of Chicago) this week: Damian Chazelle's 2014 film WHIPLASH (108 min, DCP Digital) is on Saturday at 7 and 9:45pm and Sunday at 4pm; Frank Tashlin's 1957 film WILL SUCCESS SPOIL ROCK HUNTER? (93 min, DCP Digital) is on Sunday at 7pm; Alexander Korda's 1941 film THAT HAMILTON WOMAN (128 min, 16mm) is on Monday at 7pm; Frederick Wiseman's 1991 film APSEN (146 min, 16mm) is on Tuesday at 7pm; Enzo Castellari's 1974 film STREET LAW (105 min, 35mm) is on Thursday at 7pm; and Sam Raimi's 1981 film THE EVIL DEAD (91 min, 35mm) is on Thursday at 9:15pm.

Also at the Music Box Theatre this week: Shira Piven's 2014 film WELCOME TO ME (105 min) opens, with Piven and actress Joan Cusack in person at the Friday 7pm screening; a sing-along version of Phyllida Lloyd's 2008 musical MAMMA MIA! (108 min) is on Sunday at Noon; Frédéric Tcheng's 2014 documentary DIOR AND I (90 min) is on Saturday at Sunday at Noon; Nickolas Rossi's 2014 documentary HEAVEN ADORES YOU (104 min) is on Monday at 7:15pm; David Robert Mitchell's 2014 film IT FOLLOWS (100 min, DCP Digital) is on Friday and Saturday at Midnight; and Noel Marshall's 1981 film ROAR (102 min, Digital Projection - Unconfirmed Format) is on Friday and Saturday at Midnight. Unconfirmed Formats except where noted.

Also at Block Cinema (Northwestern University) this week: the annual Sonic Celluloid event, featuring live musical accompaniment to silent and experimental films, is on Friday at 8pm. Performing are Eartheater, M. Sage and Nicholas Szcepanik. The list of films screening is not available.

Facets Cinémathèque plays Francesco Munzi's 2014, Italian film BLACK SOULS (103 min, Unconfirmed Format) for a week's run.

The Chicago Cultural Center presents Martin Provost's 2014 film VIOLETTE (139 min, Video Projection - Unconfirmed Format) on Thursday at 6:30pm in the Cinema Q series. Free admission.

Comfort Film at Comfort Station Logan Square (2579 N. Milwaukee Ave.) presents Zach Braff's 2004 film GARDEN STATE (112 min, DVD Projection) on Friday at 8pm, with live commentary by comedians Sarah Shockey) and Tim Dunn. Free admission.

Park Ridge Classic Film Series at the Park Ridge Public Library (20 S. Prospect Ave., Park Ridge) screens Michael Curtiz's 1938 film ANGELS WITH DIRTY FACES (97 min, Video Projection - Unconfirmed Format) on Thursday at 7pm. Free admission.

The Italian Cultural Institute (500 N. Michigan Ave.) screens Federico Fellini's 1986 film GINGER AND FRED (125 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Free admission.

 

ONGOING FILM/VIDEO INSTALLATIONS

I Am Logan Square (2644 ½ N. Milwaukee Ave.) continues the exhibition The Underground Prop Art Show through May 22. It features various props and other items from films showing in the 2015 Chicago Underground Film Festival, by filmmakers including Jennifer Reeder, Mike Olenick, Jerzy Rose, Kenny Reed, Ali Aschman, Chris Sullivan, Laura Ann Harrison, Mike Lopez, Spencer Parsons, Lyra Hill and Todd Mattei.

The Museum of Contemporary Art Chicago presents an exhibition of nine video works by artist Keren Cytter. On view through October 4.

The Museum of Contemporary Art Chicago presents German artist Clemens von Wedemeyer's HD video installation Muster (Rushes) (2012). On view through July 26.

David Weinberg Photography (300 W. Superior St., Suite 203) continues the exhibition Try Youth As Youth, which includes an installation version of Tirtza Even's NATURAL LIFE, plus work by Steve Davis, Steve Liss, and Richard Ross. Runs through May 8.

 

UPDATES/CLOSURES

Chicago Public Library screenings: Due to the frequency of late-additions (past our deadlines) and to their frequent inability (due to licensing restrictions) of publicly listing the titles of films they are screening, we will no longer be listing specific CPL screenings. Check their website for any films that may be showing.

The Patio Theater and the Portage Theater calendars have been confusing and constantly shifting--adding and removing events with little notice--and reportedly have been unexpectedly closed for scheduled events. We will no longer attempt to list any screenings there.

The Northbrook Public Library film series is on hiatus during renovations at the library. Expected completion is Spring 2015.

The Northwest Chicago Film Society is again on hiatus for their weekly series. They plan to do occasional screenings as opportunities arise.

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CINE-LIST: May 8 - May 14, 2015

MANAGING EDITOR /
Patrick Friel

CONTRIBUTORS / Kian Bergstrom, Kyle Cubr, Josephine Ferorelli, Josh B. Mabe, Ben Sachs, Kathleen Sachs, Ignatiy Vishnevetsky, Kyle A. Westphal, Darnell Witt

> Editorial Statement -> Contact