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


Jacques Rivette's OUT 1: NOLI ME TANGERE (French Revival)
Gene Siskel Film Center - Check Venue website for showtimes

My first awareness of this 12-hour beast, which lived only in my imagination for 11 years, was through stills of Jean-Pierre Léaud in front of a chalkboard, and Bulle Ogier looking in a never-ending wall of mirrors. It was something that kept popping up in books. I could never find a copy and I had vague ideas about what it actually was. I avoided most descriptions of its "plot." I'd rather dream about it until it was materialized in front of me. Unlike most filmmakers of the "French New Wave," the films of Jacques Rivette existed mostly in obscurity. You could find a VHS copy of CELINE AND JULIE GO BOATING, and maybe a few DVDS of his later work, but the majority of his films before the 1990's was, and still is, extremely hard to come by (unless you're internet savvy). Rivette first unleashed OUT 1: NOLI ME TANGERE on the public in 1971, just three years after the events of May '68 had come and gone, leaving their fragile memories worn across every face, hallway, and locked door. Films like Godard's MASCULIN/FEMININ, Eustache's THE MOTHER AND THE WHORE, and Garrel's L'ENFANT SECRET, were a few films that arrived at places deemed unattainable, convincing one of all those perceived "hidden qualities" that cinema uses to allow us a few glances behind the veil of real experience; films that could render ideas, images, and sounds in ways all too personal to seem born of reality. With OUT 1, this cinematic mystery/intrigue reached its zenith. The plot involves two experimental theater groups working on productions by Aeschylus; one is doing Seven Against Thebes, the other, Prometheus Bound. These groups will prepare their productions through various exercises, pulling the most personal feelings of reality out through the mechanics of presenting a false reality, all the while discussing personal ambitions, relationships, and art. Meanwhile, we will watch Jean-Pierre Léaud waking up in dreams, arriving at numbers and clues through books by Honoré de Balzac and Lewis Carroll, wandering Paris with his atonal harmonica wails, and the conviction he is about to uncover a conspiracy hidden within the day-to-day goings-on in Paris. You'll see Juliet Berto assuming the role of a thief straight out of a film by Louis Feuillade, fleecing various men around the city (including Cahiers du Cinema founder, Jacques Doniol-Valcroze) and possibly stumbling upon the same discoveries as Léaud. Eric Rohmer is also going to try and help explain the "keys" of the film to you. It'll take awhile (no shit) for these characters to convene, and even longer for the film to arrive at its conclusions, but eventually, groups will dissipate, forming smaller groups, as a few truths rise to the surface. Hoping for a conventionally satisfying payoff is a waste of time, but so is assuming this is a mere work of pretentious buffoonery, whose creator brandishes its great length like a jam-band playing at a crappy music festival. Its staggering runtime may be there to trick you, but not like a gimmick would; the "trick" in this film is the trick on which all of cinema is based. It will return your filmic expectations to zero, detoxifying any "accumulated errors." Filmmaker Claire Denis has described viewing this film on the big screen as something close to "an acid experience." (1971, 729 min, DCP Digital; New Restoration) JD
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Ingmar Bergman's THROUGH A GLASS DARKLY (Swedish Revival)
Doc Films (University of Chicago) - Wednesday, 7 and 9pm

No one could accuse Ingmar Bergman of being a realist, but, as is evident in many of his films, he's keen to depict madness in the everyday. THROUGH A GLASS DARKLY especially relishes in the duality of the benign and the bizarre; the original title, AS IN A MIRROR, is the Swedish translation of the well-known Bible verse from which the English-subtitled version takes its name, and it perhaps best represents this secondary motif. (The first, of course, is the God question that permeates several of his films, including the other two that also comprise his Silence of God trilogy.) The film, which Bergman described as a chamber drama, opens on four figures emerging from the sea in a scene that's eerily similar to the Dance of Death sequence from THE SEVENTH SEAL. They're revealed to be a family: a father (Gunnar Björnstrand) and his son and daughter (Lars Passgård and Harriet Andersson, respectively), and her husband (Max von Sydow). The daughter, Karin, is schizophrenic, and has recently been hospitalized; her brother, Minus, is conflicted about his relationship with her and their narcissistic writer father, David. Just after all that's revealed, the four sit down to a seemingly normal family dinner. This dramatic dichotomy is reflected again at the end when, just after Karin's breakdown, Minus and his father are discussing Karin's condition and Minus suddenly asks if he can go for a run. "Off you go," David replies. "I'll make dinner." Bergman addresses the dilemma of his prominent God question in Images: My Life in Film, writing that, by the time he made THROUGH A GLASS DARKLY, his "own conflict with religion was well on its way out." He said that the film "is mainly connected to [his] marriage to Käbi Laretei and their life together," a fact that casts it in a different light, one that's in fact more earthly than otherworldly. (1961, 89 min, 35mm) KS
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Gaspar Noé's LOVE (New French)
Music Box Theatre - Check Venue website for showtimes

From the very first scene, viewers know that Gaspar Noé's latest film is a progression of the unflinching, envelope-pushing style he's come to be known for. LOVE is told from aspiring filmmaker Murphy's (Karl Glusman) perspective as he remembers his relationship with his unstable ex-girlfriend, Electra (Aomi Muyock), in its entirety. It is a deeply personal film that depicts the good, the bad, and all the sex that is found within an emotionally charged relationship. A good portion of its content can be described as artfully shot pornography (i.e. BLUE IS THE WARMEST COLOR and NYMPHOMANIAC). The highly carnal acts displayed run the full sexual spectrum and from passionate to lustful; nothing is too taboo to be shown. Noé's gorgeous cinematography is the film's strongest point; many of the shots ebb from warm to cold in order to match the scene's mood. Originally shot in 3D, he takes liberties with the film's more outlandish moments to deepen their effect. He frames Murphy mostly in close-ups to signify that we're in Murphy's headspace and this juxtaposes well with the frequent use of stream-of-conscious voiceover. This is strengthened further by the French New Wave inspired editing, which incorporates quick cuts of pure black mimicking someone remembering fragmented memories. LOVE's message is best summed up by Murphy when he says "What's the best thing in life? Love. And then after that? Sex. And then you combine the two; sex while you're in love. That's the best thing." The film is very sentimental, much like its protagonist. LOVE, for all of its gratuitousness, is an immensely relatable and accurate portrayal of anyone who's ever loved and lost someone.  Screening in the 2D version. (2015, 135 min, DCP Digital) KC
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Jafar Panahi's TAXI (New Iranian)
Gene Siskel Film Center - Check Venue website for showtimes

Controversial Iranian filmmaker Jafar Panahi is currently under a twenty year ban from making movies in his home country, but despite this, he has managed to release three "secret" films in the last four years. TAXI finds Panahi playing a dramatized version of himself as he drives passengers (nontraditional actors whose identities are concealed in order to be protected from the government) around Tehran. Utilizing three cameras positioned in the cab plus an iPhone, the setting never leaves the confines of the vehicle. With this setup, the viewer is treated to some impressive long takes and minimal editing that highlight Panahi's skills at mise en scène. The tight quarters never feel too claustrophobic thanks to the bounty of ever shifting background images seen through the windows. TAXI manages to poke fun at its secretive, backdoor style when, at one point, Panahi picks up a passenger who specializes in procuring bootlegged copies of films and selling them in back alleys. TAXI never takes itself too seriously and at times is quite funny--it's part drama, part documentary, and part dark comedy. The film's overarching theme of repression is conveyed through a handful of vignettes, as fares come and go for Panahi. Sociologically, Tehran and its denizens are depicted as any other ordinary metropolis and populace, but with the always-present underlying fear of the oppressive regime that rules over them. TAXI is a creative stroke of resourcefulness that manages to encapsulate modern day Iran in an uncompromising way. (2015, 82 min, DCP Digital) KC
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Emilio Fernández's MARÍA CANDELARIA (Mexican Revival)
Block Cinema (Northwestern University) - Thursday, 7pm

Leading off a brief series of works shot by famed cinematographer Gabriel Figueroa is Emilio Fernández's classic Mexican melodrama MARÍA CANDELARIA, winner of the "Best Cinematography" award and co-recipient of the "Grand Prize" at the 1946 Cannes Film Festival. María Candelaria, a role specifically written for international superstar Dolores del Río, is the daughter of a prostitute living in Xochimilco, the floating gardens near Mexico City. All she wants from life is a market to sell her flowers in, some place where she and her beloved Lorenzo can be happy, but the community won't allow María to escape the shame of her heritage. Fernández's dramatic flourishes, del Río's captivating performance, and the gorgeous imagery provided by famed cinematographer Gabriel Figueroa (a frequent collaborator of Luis Buñuel) are all suited exclusively for the big screen. (1944, 102 min, 35mm) JBM
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Doc Films (University of Chicago) -- Monday, 7pm

A highlight of Rohmer's 1980s Comédies et Proverbs series, THE FOUR ADVENTURES OF REINETTE AND MIRABELLE has as its subject the narrowing opposition between Reinette (Jöelle Miquel) from the country and Mirabelle (Jessica Forde) from Paris. While Rohmer is unambiguously aligned with the latter character, the film's opening immersion in a rustic land devoid of the inequality, conflict, and grift of the city is conceptually reminiscent of Malick's THE NEW WORLD; and no other metropolitan auteur has shown more interest in the countryside's tourist economy of recreation and aleatory romance. REINETTE AND MIRABELLE, however, is also remarkable in its inverse commitment to the dictums of the Bechdel Test: here is a movie that consists of nothing other than two women talking to each other about something other than men. Reinette and Mirabelle have a greater task: to resolve through play the meaning of honor, justice, fairness, and aesthetic judgment within an unforgiving--and yet somehow, as you know, sublime--urban landscape. (1987, 102 min, 35mm) MC
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Nicholas Ray's REBEL WITHOUT A CAUSE (American Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) - Wednesday, 1 and 7:30pm (Free Admission)

REBEL WITHOUT A CAUSE has had more lives than many auteurist causes: it's A Film By Nicholas Ray, but also a genuine popular classic sustained by an endless supply of James Dean posters, magnets, t-shirts, and tchotchkes. Modern viewers often find it dated, largely because fashion dictates a less didactic and purpose-driven form of expression. If the psychological jargon and parenting advice are hopelessly rooted in the 1950s, the sex is something else again. Here, the title is misleading, perhaps disingenuous: treating Dean's Jim Stark as a privileged creature of inchoate disaffection is only possible by willfully turning a blind eye to the quite legible and articulate critique of straight sexuality that limns nearly every exchange. It's in Sal Mineo's tentative entreaties to Dean, but even more brashly in the moment Natalie Wood interrogates William Hopper on the proper way for a teenager to express love for her father; her desires literally know no established form. It's a movie about people denied a framework and vocabulary for coming to terms with themselves and their environments. Luckily, this confusion does not infect the movie's craft. Ray's JOHNNY GUITAR bustles with so much action that its cramped frames feel primed to burst, as if the director had exhausted the limits of flat cinematography; REBEL, Ray's Cinemascope debut, reverses course and uses the wide canvas to describe new dimensions of loneliness and isolation. (1955, 111 min, 35mm) KAW
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Joshua Oppenheimer's THE LOOK OF SILENCE (New Documentary)
Film Studies Center (at the Logan Center for the Arts, University of Chicago, 915 E. 60th St.) - Sunday, 6pm (Free Admission)

The quiet, sobering hangover to the bender that was THE ACT OF KILLING, THE LOOK OF SILENCE is the equally essential flip-side to Joshua Oppenheimer's explication of Indonesia's mid-60's genocide of ostensible communists. In the previous film, Oppenheimer and co-director Christine Cynn followed the logic of their first collaboration, THE GLOBALISATION TAPES, and handed the means of aesthetic production to their subjects, in this case a group of unrepentant and publicly celebrated death squad leaders, to recreate their greatest hits of artisanal mass murder for the camera. This time around the protagonist is Adi, a village optometrist who calmly but insistently interrogates the men who murdered his brother five decades prior. It's a change of perspective that will appeal to THE ACT OF KILLING's detractors, who found the indulgence of the killers' flamboyant auto-hagiography with minimal pushback at the very least distasteful (a critical position that prevents some viewers from digesting the myriad grotesque pleasures of (ACT OF KILLING/LOOK OF SILENCE executive producer) Errol Morris's THE UNKNOWN KNOWN.) But just as significant are the distinct ways the films' subjects reflect the same underlying events. The gangsters in THE ACT OF KILLING are an inextricable part of Indonesia's written-by-the-winners society, contextualized in a fawning TV interview, a campaign for political office, and involvement with the powerful Pancasila Youth movement. Adi and his centenarian parents seem profoundly isolated, one family among hundreds of thousands living in silence with the absurd open secret of their loved one's murder by their neighbors. It's a fact that has never ceased to haunt them, as indelible to their lives as it was quotidian to the perpetrators. Through his work, and the connections Oppenheimer established over ten years exploring the mass murders, Adi is able to ask the killers and their families the most basic questions about their actions, meeting the repetitive demurrals, justifications, and threats used to eschew personal responsibility. The film's form echoes Adi's approach, with measured editing and careful compositions, its controlled outrage expressed as a precise, piercing look at impunity and hypocrisy. The recurrent static shots of Adi watching Oppenheimer's footage of death squad leaders reliving his brother's murder speak volumes to the way that images allow us to process history, whether in celebration or horror. As with the work of Claude Lanzmann and Rithy Panh, THE LOOK OF SILENCE is a moral inquiry that is concerned with the unique way that cinema enables victims, perpetrators, and viewers to reckon with the past. Whether considered along with its prequel or alone, this is a landmark in 21st century documentary filmmaking. Director Joshua Oppenheimer in person. (2014, 103 min, Digital Projection - Unconfirmed Format) AK
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Sidney Lumet's DOG DAY AFTERNOON (American Revival)
Doc Films (University of Chicago) - Friday, 7 and 9:30pm and Sunday, 1:30pm

In DOG DAY AFTERNOON, Lumet exploited his theatrical background to electrifying effect, building consistent dramatic tension from the essential mise-en-scene of a few stark locations and ramped-up performances. AFTERNOON has been justly canonized for Al Pacino's star turn, a product of genuine exhaustion and second-wind adrenaline. (Pacino nearly turned the film down because it began shooting immediately after the epic schedule for THE GODFATHER PART II had wrapped); yet it's only one of the bright sparks among a uniformly wired cast. Going against his usual loyalty to the written word, Lumet encouraged his actors to improvise after rehearsing Frank Pierson's script for seven weeks. The process yielded a unique performance style--which was, on the whole, perhaps Lumet's greatest contribution to movies--that combined the specific, spontaneous gestures of film acting with the internalized characterizations common to off-Broadway drama. The film depicts an infamous Brooklyn bank robbery of 1972, committed by a married man in hopes of paying for his male lover's sex change operation. The botched robbery devolved into a highly publicized hostage standoff, and under Lumet's direction, the events play out as a series of escalating, acutely realized crises. Thanks to the extended rehearsal period, everyone on screen seems confident in their daily business--be it running a bank or negotiating for the FBI--yet the demands of improvisation make everyone visibly, and convincingly, nervous. The film generates great suspense as well as comedy (Note the scene where John Cazale's ad lib about Wyoming nearly makes Pacino crack up), often at the same time, as in Pacino's impassioned and ultimately exhausting phone conversation with his lover (Chris Sarandon). It's also worth noting that the exterior shots present some exciting snapshots of New York in the mid-70s and that the film's sexual politics don't feel at all dated. (1975, 125 min, DCP Digital) BS
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Robert Altman's NASHVILLE (American Revival)
Music Box Theatre - Wednesday, 7:30pm

"You go get your hair cut! You don't belong in Nashville!" "Mary and I camp in one room, Tom camps in many rooms." "I've been busier than a puppy in a room full of rubber balls." As much as any Altman film, NASHVILLE is filled to the brim with things to watch. But it's equally dense with things to hear, encouraging the viewer to fully be a listener as well. The soundtrack is integral to NASHVILLE's mosaic structure, bursting with brilliant dialog (scripted? improvised? does it matter?) that can't possibly be taken in all at one sitting. In other words, if you've seen NASHVILLE once you've only experienced one version of the film. Presented as part of the occasional Sound Opinions series, hosted by music critics Jim DeRogatis and Greg Kot. (1975, 159 min, DCP Digital; New Restoration) RC
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George Sidney's VIVA LAS VEGAS (American Revival)
The Park Ridge Classic Film Series at the Pickwick Theatre (5 S. Prospect Ave., Park Ridge) - Thursday, 7:30pm

VIVA LAS VEGAS is the purest of the Elvis movies. Gone is the gleeful vulgarity of the Norman Taurog-directed Elvises, or the unsure scrappiness of the ones handed to lesser (Gene Nelson) or less-interested (Raoul Walsh, Phil Karlson) directors. What remains is color, shape, and movement. Las Vegas is reduced to garish form; it resembles the colorful plastics of Alain Resnais' LE CHANT DU STYRENE--a city built by Oskar Fischinger and not Bugsy Siegel. The movie is without taste, but not tasteless. The image of Ann-Margaret's ass in black tights is so shameless in its admiration that it might as well be of a Michelangelo or one of Picasso's late statues. Presley's goofy performance of the title song (watch) is what AN AMERICAN IN PARIS would've looked like if Vincente Minnelli didn't know the meaning of the word "art." (1964, 85 min, Video Projection - Unconfirmed Format) IV
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Celine Sciamma's GIRLHOOD (New French)
Black Cinema House (7200 S. Kimbark Ave.) - Sunday, 4pm (Free Admission*)

Delivering on the promise of her 2007 Louis Delluc award-winning debut WATER LILLIES, and her impressive second feature TOMBOY, Celine Sciamma's GIRLHOOD is another lively snapshot from a singular French filmmaking talent about adolescent girls constructing their identities in the face of societal pressure. The film centers on Marieme (remarkable newcomer Karidja Toure), a black teenager living in the outskirts of Paris who is being raised, along with two younger sisters and a possessive older brother, by an overworked single mother. Marieme finds an alternative family when she is taken under the wing of a trio of brassy older girls who promptly rename her "Vic" and initiate her into a new world of shoplifting, street-fighting, and more glamorous fashions and hairstyles. While GIRLHOOD is an exemplary coming-of-age picture, it isn't quite the universal story that its English-language title implies. A more accurate translation of the original French title, "Band of Girls," would better capture the film's flavor since Sciamma is interested in exploring the dynamics of a group identity within a specific cultural milieu. Sciamma's focus on the "band" is underscored by a deft use of the now-unfashionable CinemaScope aspect ratio, which is conducive to grouping multiple characters together. This aesthetic choice pays dividends in the film's undisputed highlight: a scene in which the girls check into a hotel room for the sole purpose of dressing up, getting drunk, and dancing with each other while listening to Rihanna's "Diamonds." The feeling of sisterhood imparted by this sequence, bolstered by the buoyant performances and gorgeous blue-tinted lighting, makes it a far better showcase for the song than Rihanna's official music video. Even if it weren't any good, GIRLHOOD would be worth seeing just because its focus on the intimate lives of black female characters makes it something of an anomaly. Fortunately for movie lovers, the result also shines bright like a diamond in the firmament of contemporary cinema. Film scholar and programmer Sergio Mims will introduce the film and lead a post-screening discussion. (2014, 112 min, Video Projection - Unconfirmed Format) MGS
*Free admission, but limited seating; RSVP (and more info) at


Block Cinema (Northwestern University) continues with the Eyeworks Festival of Experimental Animation this weekend. On Friday at 7pm is Melter: Films by Takeshi Murata, with video artist Murata in person; and on Saturday at 1pm and 3:30pm are Shorts Program 1 and Shorts Program 2, which feature a mix of old and new films and videos, including work by Hy Hirsh, Suzan Pitt, Robert Breer, Amy Lockhart, Heather McAdams, Peter Burr, Osamu Tezuka, Steve Reinke and Jessie Mott, Standish Lawder, Ed Emshwiller, John Whitney, and more. Full schedule at

Chicago Filmmakers (5243 N. Clark St.) and Live To Tape present Your Program of Programs (Peter Von Ziegesar, approx. 90 min, Digital Projection) on Saturday at 8pm. Screening are three complete episodes of the 1982-83 Manhattan Cable TV Public Access television show, which include appearances by painter Kenny Scharf, performance artist Ann Magnuson, performance artist and filmmaker Stuart Sherman, and video artist Tom Rubnitz. The show's producer and host Kestutis Nakas in person at the Saturday screening. The program repeats at Columbia College (Hokin Hall, 623 S Wabash Ave.) on Tuesday at 6:30pm.

The Conversations at the Edge series at the Gene Siskel Film Center presents Martine Syms: The Unreliable Narrator on Thursday at 6pm, with Los Angeles-based artist Syms in person.

The Polish Film Festival in America opens Friday and runs through November 22 at Facets Cinémathèque and other venues. Full schedule at

The Attic (5400 N. Clark St, 2nd Floor) and Elevated Films Chicago present Telltale Hearts: 4 Films of Love and Death, a program of local work, on Tuesday at 7pm. Screening are Spencer Parsons' BITE RADIUS, Jennifer Reeder's SEVEN SONGS ABOUT THUNDER, Judd Myers' SON, and Harrison Atkins' CHOCOLATE HEART. Filmmakers in person.

Locallective (1257 N. Milwaukee Ave.) presents Chicagoland Shorts, two different programs of locally-made work, on Friday and Saturday at 7pm. Details at

Sunday Gallery (1436 W. Jarvis) presents We are Here to Build the House, an installation work with experimental video, fiber art, and live performance by Salome Chasnoff and Lauren La Rose, on Saturday from 7-11pm.

The Nightingale (1084 N. Milwaukee Ave.) and Chicago Film Archives presents Kinosonik #5 on Saturday at 8pm. Screening are DESIGN IN MOVEMENT (Patricia Wright, 1965, 14 min), AN ANGEL FISH (James Dutcher, 1974, 10 min), VISUAL VARIATIONS ON NOGUCHI (Marie Menken and Lucille Dlugoszewski, 1945, 8 min), MONUMENTS TO EROSION (Van Bork for Encyclopedia Britannica, 1974, 11 min), and GLASSHOUSE (Lawrence Janiak, 1964, 7 min). With live scores by Walter Kitundu and Katherine Young. Free admission.

The Black Cinema House (7200 S. Kimbark Ave.) presents the Chi-Town Multicultural Film Fest on Friday at 6:30pm. Free admission, but limited seating; RSVP at

Also at the Northbrook Public Library (1201 Cedar Lane, Northbrook) this week: Jazz Forum (1941-62, Unconfirmed Running Time and Format), a showcase of jazz performances on film, is on Tuesday at 1 and 7:30pm. Free admission.

The Film Studies Center (University of Chicago) presents a lecture by Gertrud Koch (Professor in Film Studies at the Freie Universität in Berlin) titled "Uncorking an old Bottle Found in the Atlantic Sea: What Does "Critical Theory" Want from Film?" on Friday at 5pm; and a lecture by Giuliana Bruno (Harvard University) titled "Surface: Matters of Aesthetics, Materiality, and Media" on Thursday at 5pm. Both events take place at the Logan Center for the Arts (915 E. 60th St.). Free admission for both.

Also at the Gene Siskel Film Center this week: Rebecca Parrish's 2015 documentary RADICAL GRACE (86 min, DCP Digital) plays for a week. Check the Siskel website for details on appearances by Parrish and other guests; and Yasujoro Ozu's 1956 film EARLY SPRING (144 min, 35mm) is on Saturday at 5pm and Tuesday at 6pm, with a lecture by critic and artist Fred Camper at the Tuesday screening.

Also at Doc Films (University of Chicago) this week: Asif Kapadia's 2015 documentary AMY (128 min, DCP Digital) is on Saturday at 9pm and Sunday at 4pm; William Wyler's 1940 film THE LETTER (95 min, 35mm Archival Print) is on Sunday at 7pm; Eric Khoo's 2011 Singaporean film TATSUMI (96 min, Blu-Ray Projection) is on Tuesday at 7pm; Gordon Parks' 1984 film SOLOMON NORTHUP'S ODYSSEY (115 min, DVD Projection) is on Thursday at 7pm; and Iain Softley's 1995 film HACKERS (107 min, Blu-Ray Projection) is on Thursday at 9:30pm.

Also at the Music Box Theatre this week: Sebastian Schipper's 2015 film VICTORIA (138 min, DCP Digital) opens; Hou Hsiao-hsien's THE ASSASSIN (105 min, DCP Digital) is on Friday at 2:30pm and Saturday and Sunday at 11:30am; Veronika Franz's 2014 Austrian horror film GOODNIGHT MOMMY (99 min) is on Friday and Saturday at Midnight and Saturday at 11:30am; Rock Baijnauth's 2015 documentary BARISTA (103 min) is on Saturday at 2pm; Russ Meyer's 1965 film FASTER, PUSSYCAT! KILL! KILL! (83 min, 35mm) is on Friday and Saturday at Midnight (with a 35mm trailer for Meyer's BEYOND THE VALLEY OF THE DOLLS), Disney's 1940 animated film (with twelve credited directors) FANTASIA (125 min, DCP Digital; New Restoration) is on Sunday at 2pm; An Evening with David Mitchell and Lana Wachowski, featuring an on-stage conversation between novelist Mitchell and filmmaker Wachowski, is on Sunday at 7:30; and Kazuchika Kise and Kazuya Nomura's 2015 animated film GHOST IN THE SHELL: THE NEW MOVIE (57 min) is on Tuesday at 7:30pm. Unconfirmed Formats except where noted.

Comfort Film at Comfort Station Logan Square (2579 N. Milwaukee Ave.) screens Guy Hamilton's 1971 James Bond film DIAMONDS ARE FOREVER (120 min, Digital Projection - Unconfirmed Format), with live comedy voice-over/commentary, on Friday at 8pm; and presents the Chicago Young Film Makers Showcase on Wednesday at 7pm. Screening are NATASHA SAYS (Ben Medina, 2015, 11 min), LEARNING CURVE (Adam Jumpa and Ben Kasl, 2015, 36 min), and SHITCAGO (Nick Alonzo, 2015, 65 min). All Digital Projection - Unconfirmed Format. Free admission.

Alliance Française (54 W. Chicago Ave.) screens Jacques Becker's 1945 film PARIS FRILLS (Falbalas) (111 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30pm.



Carrie Secrist Gallery () presents the exhibition Michael Robinson: Mad Ladders, which features the titular work as a large-scale installation, along with a series of 2D collages, and a new two-channel video piece, Desert States (You Win Again).  Opening reception is on Saturday from 3-7pm. The show runs through January 16.

The Art Institute of Chicago presents a gallery exhibition of Mariko Mori's 1996 video MIKO NO INORI (29 min, VHS on Digital) through January 3 in Gallery 186 (Modern Wing).

At Deadly Prey Gallery (1433 W. Chicago Ave.): Deadly Poison: A Selection of Hand-painted Horror Movie Posters from the Ghanaian Mobile Cinema. The show runs through the end of November (check with the gallery) and is on view on Saturdays from 2-6pm or by appointment.

Julius Cæsar (3311 W. Carroll Ave.) continues a show of work by video maker and artist Shana Moulton. The show features Moulton's video installation MY LIFE AS AN INFJ (2015) and the single channel video MINDPLACE THOUGHTSTREAM (2014).

The Museum of Contemporary Art Chicago presents Im Reich der Sonnenfinsternis (In the empire of the solar eclipse), an installation by Belgian artists Jos de Gruyter and Harald Thys, which is comprised of paintings, sculpture, photography, drawings and a 25 minute video entitled DAS LOCH (THE HOLE). On view through January 17.



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.

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CINE-LIST: November 6 - November 12, 2015

Patrick Friel

CONTRIBUTORS / Michael Castelle, Kyle Cubr, John Dickson, Alex Kopecky, Josh B. Mabe, Ben Sachs, Katheen Sachs, Michael G. Smith, Ignatiy Vishnevetsky, Kyle A. Westphal, Darnell Witt

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