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:: Friday, FEB. 12 - Thursday, FEB. 18 ::


Andy Warhol's THE CHELSEA GIRLS (Experimental Revival)
Block Cinema (Northwestern University) - Saturday, 12:30pm

1966: The dilapidated Chelsea Hotel had just been designated a New York City landmark and newly-elected John Lindsay organized the Mayor's Office of Film, Theatre, and Broadcasting in a bid to stimulate local production. And in a flash of karmic fury that fused and profaned these civic projects, THE CHELSEA GIRLS proved so successful at the Filmmakers' Cinematheque that it moved uptown to the Regency at 72nd and Broadway, respectable digs that forced New York media and the trade press to acknowledge the movie's existence. Mainstream press coverage ranged from pandering praise to venomous hostility. It was a movie almost calculated to alienate self-styled liberals, who had heretofore encountered destitute junkies and hustlers in a prescriptive, consciousness-raising context. (Pace Jacob Riis, Warhol is more interested in How the Other Half Fucks.) Variety called it "an anti-film, or more accurately, a non-film," but breathlessly reported its grosses anyway. THE CHELSEA GIRLS became the biggest cross-over hit in the history of the American avant-garde--the title that sent bewildered theater owners scrambling to install 16mm projectors and presaged a brief vogue for split-screen and multi-projector presentations that would continue with Expo 67, THE BOSTON STRANGLER, WOODSTOCK, et al. During its original Cinematheque engagement, the twelve reels of CHELSEA GIRLS had been shown in a different order at every show, with distorting glass and spontaneous soundtrack adjustments. Andrew Sarris reckoned that "what with the problems of projection the personalities of projectionists, each showing of THE CHELSEA GIRLS may qualify as a distinctly unique happening." When demand spiked and the Filmmakers Coop rushed to fulfill orders, Jonas Mekas codified the structure of the film and gave us THE CHELSEA GIRLS as we know it today. (The original CHELSEA GIRLS projectionist, Bob Cowan, lamented this state of affairs a few years later: "I saw a version at the Elgin Cinema which was pedestrian to say the least. The sound was a garbled mess, the image grey-brown and lifeless. There were maybe three or four old men in the audience. It was all very depressing.... The enjoyment that I got was in projecting it, not in seeing it.") Even in its housebroken form, THE CHELSEA GIRLS is still a wild experience, heavily influenced by the whims and sympathies of the projectionist. Seen today, the whole is probably greater than the sum of its parts, with no single CHELSEA GIRLS reel approaching the perfection of Warhol's masterpieces. MY HUSTLER and CAMP are funnier, KISS, BLOW JOB, and POOR LITTLE RICH GIRL are more rigorously rewarding, and OUTER AND INNER SPACE and LUPE make more exacting use of the dual projection conceit--and yet THE CHELSEA GIRLS still stands as that quintessential work, the one that most fully synthesizes Warhol's soul-scratching sincerity with his live-wire threat to narrative artifice and traditional film grammar. There's no conventional crosscutting, but the sense of simultaneous action is even more bluntly effective in double projection, a sustained threat of collision never realized. The whole thing is staggering and exhausting, like we're forcibly ensconced in some surveillance state hivemind: we eavesdrop on one amphetamine-fueled rant after another, our eyes wandering away to the queer doings next door and back again. As it stretches on, THE CHELSEA GIRLS feels like it could recede out to infinity--until the return of Pope Ondine. There's not even a fourth wall left to break, and yet the Pope barrels through it anyway, summoning a freak energy that Mekas aptly described as a "holy terror." The image fades out, but the music continues--the movie is still going on, invisible, congealed into air. (1966, 204 min, 16mm Double Projection) KAW
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Aldo Tambellini's Black Film Series (Experimental Revival)
Block Cinema (Northwestern University) - Friday, 7pm

Aldo Tambellini's Black Film Series is a grouping of 16mm films that are concerned with the concept of "black". Rather than being just formal abstractions, Tambellini's films frequently achieve a level of abrasive psychedelic pulsations. Starting from his poetic mantra "seed black, seed black, sperm black, sperm black," Tambellini instigates eroticism through ocular stimulation. BLACK IS (1965), BLACK TRIP (1965), BLACK TRIP 2 (1967), BLACKOUT (1965), and BLACK PLUS X (1966) are among Tambellini's earliest experiments in film. These films include heavily scratched, hand-painted film strips--made without the use of camera--on their own, or collaged with scenes of black children singing and playing in New York City, where he lived in the 1960s, and with filmed TV news footage of space exploration and the assassination of Robert Kennedy. These early films originally premiered at the Gate Theater--the experimental film theater that Tambellini co-programmed in the Lower East Side Manhattan from 1966-1968--within screening programs that also included filmmakers such as George and Mike Kuchar, Jud Yalkut, Takahiko Iimura, Marie Menken, Robert Downey, Sr., Peter Campus, and Bruce Conner. In line with mid-century political activism, and inspired by Marshall McLuhan's theories on media, Tambellini's films aimed to find ways to control and manipulate the media artistically rather than to allow the media to possess society. The soundtracks that Tambellini created for these films are especially potent, whether they are simply silence, accompanying pulsing light inspired by heartbeats, or noise soundtracks influenced by his specialized interests in free jazz, avant-garde, and electronic music. Two slightly later films, BLACK TV (1968-2008) and MOONBLACK (1969), demonstrate Tambellini's evolution from black box cinema maker to performance artist; the former was first presented as an immersive electromedia environment at Tambellini's Black Gate Theater and will be screened as a double-16mm projection. Also included are two unreleased films, SUN BLACK (1965-68) and BLACK '67 (1967). Tambellini donated his film work to Harvard Film Archive in 2010, and the films screening have all been recently restored by them. (1965-69/2008, approx. 60 min total, Newly Preserved 16mm Prints) AI
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Philippe Garrel's IN THE SHADOW OF WOMEN (New French)
Gene Siskel Film Center - Check Venue website for showtimes

IN THE SHADOW OF WOMEN came in third on Cahiers du cinema's list of the best films of 2015, and it isn't hard to see why. The movie achieves a sustained, fragile beauty with seeming effortlessness; Philippe Garrel is such a master at this point that, under his gaze, even activities as banal as a woman taking an electric water-heater out of a box seem entrancing. (The ravishing black-and-white 35mm photography--by Renato Berta, whose credits include Godard's EVERY MAN FOR HIMSELF, Rohmer's FULL MOON IN PARIS, and multiple films by Manoel de Oliveira--renders everything poetic.) Garrel also makes narrative experimentation seem easy, skipping over crucial parts of the story as though skipping stones across a pond. Sometimes months will pass between one scene and the next, yet it feels like only moments have elapsed, since Garrel and his co-writers (among them the legendary Jean-Claude Carriere, whom the director has credited with the film's subtle humor) have realized their characters so thoroughly that their behavior always makes sense--one never has trouble keeping up with them. The principal subjects are a 40-ish documentarian, his wife, and his younger mistress. Garrel moves gracefully between their perspectives, encouraging empathy with all three while also noting their limitations. The film is particularly astute when it comes to analyzing the hero's "typically male" equivocation and entitlement; it's also generous enough to let the character realize his errors before they ruin him. This may be Garrel's lightest, most optimistic work, though that's not to say that any of it feels frivolous. (2015, 73 min, DCP Digital) BS
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Maurice Pialat's UNDER THE SUN OF SATAN and VAN GOGH (French Revivals)
Gene Siskel Film Center - Showtimes noted below

"[Maurice] Pialat's background as a painter was a key weapon in his assault on unfolding reality," wrote Kent Jones in a 2004 memorial for the great French filmmaker, the current subject of a month-long retrospective at the Siskel Center. "[His most memorable moments] are visions snatched from the fleeting beauty of everyday, banal existence, endowed with exactly the right dimensions and proportions in space and time." This sense of everyday existence is crucial to Pialat's sole narrative film about a painter, the biopic VAN GOGH (1991, 158 min, 35mm; Friday, 6:30pm and Saturday, 3pm), which considers the final months in the subject's life not as a period of agony, but as a relatively normal time marked by social engagements, romance, arguments, and work. The film still pulses with emotion as all of Pialat's movies do; it's just in a quieter register than something like WE WON'T GROW OLD TOGETHER or A NOS AMOURS. Like most of the director's protagonists, Jacques Dutronc's Van Gogh is angry with the world and with himself (quite a few critics have read the characterization as an act of self-portrait on Pialat's part), yet this anger is tempered with moments of tenderness and resignation. In fact, VAN GOGH contains some of the most optimistic passages of Pialat's filmography: the lunch on the grass at Dr. Gachet's home, the third-act visit to the brothel, the moments of reconciliation between the hero and his brother/patron Theo. This might explain why the film was a whopping critical and commercial success in France, selling roughly one and a half million tickets and garnering 12 Cesar nominations. The response was certainly nicer than the one Pialat received for his previous film, UNDER THE SUN OF SATAN (1987, 98 min, 35mm; Saturday, 6pm and Thursday, 8:15pm); even though that movie won the Palme d'Or at Cannes, the director got booed by a sizable portion of the audience when he went to accept his award. Richard Brody posited in The New Yorker that this infamous event has come to eclipse the achievement of the movie, which he considers one of the great films about religious faith made by a nonbeliever. "[Gerard] Depardieu plays Donissan, a priest whose intense physical self-punishment is rendered all the more terrifying by the actor's manifest physical strength and appetites," Brody writes. "The fury of Donissan's religious devotion, an utterly non-amiable, relentless quest for Christian suffering, alienates his parishioners even as he seems to sense the presence of the Devil more clearly than that of God." The film is an adaptation of a novel by Geroges Bernanos, whose books Diary of a Country Priest and Mouchette were adapted by another great painter-turned-filmmaker, Robert Bresson. But, as Brody observes, "whereas Bresson's naturalistic religion condenses a vast force into an infinitesimal gesture, Pialat expands spiritual power to a large-scale struggle that bursts out in physical and emotional violence." Highlights of this intense, challenging film including a murder, an encounter with Satan, and a volatile performance by Pialat's extraordinary discovery, Sandrine Bonnaire. BS
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Vahid Jalilvand's WEDNESDAY, MAY 9 & Nima Javidi's MELBOURNE (New Iranian)
Gene Siskel Film Center - Showtimes noted below

Iran possesses one of the most vibrant national cinemas on the planet, with long-standing traditions of social realism, formal experimentation, and films that combine both qualities in fascinating ways. The two features showing this week in the Siskel Center's annual series of new Iranian cinema belong to this third category, responding to topical issues while attempting novel ideas with narrative form. WEDNESDAY, MAY 9 (2015, 102 min, DCP Digital; Saturday, 8pm and Sunday, 3pm) is a triptych of stories that spotlights the economic vulnerability of Tehran's lower-middle-class. Co-writer-director Vahid Jalilvand presents the stories out of order, so that the third act centers on the same emotional climax with which the film begins. In between these two iterations, Jalilvand introduces us to three sets of memorable characters: a middle-aged woman and her quadriplegic husband, whose medical issues are driving their family into destitution; a younger, working-class woman who's secretly married her boyfriend, provoking the outrage of her strict, possessive family members; and a schoolteacher who wants to give away all his money in a mad effort to combat the poverty he sees all around him. The melodramatic material is expertly played, with the lead actresses especially good. The film doesn't provide any profound insights about urban poverty, yet it successfully conveys the issue in emotional terms, which is exactly what good melodrama should do. Where MAY 9 is expansive in its perspective, MELBOURNE (2014, 91 min, DCP Digital; Saturday, 6pm and Sunday, 5pm) is downright claustrophobic; it's also more oblique in its take on a topical issue. Like Mohammad Rasoulof's GOODBYE (2011), the topic under consideration is the challenge of emigrating from Iran. The main characters are a 30-something Tehran married couple who are about to leave for the title city, where they have plans to study. While they're packing their bags, a neighbor asks them to briefly watch the baby she's looking after. They accept, then discover later that the baby isn't moving. How will they break the news to the child's parents, whom they hardly even know? And more importantly, will the tragedy keep them from leaving the country? The film can be read allegorically or as a universal moral nightmare. Writer-director Nima Javidi almost never leaves the couple's apartment, and his suffocating mise-en-scene renders palpable the characters' sense of entrapment. As in MAY 9, the acting is uniformly fine (Peyman Moaadi, best known here as the husband in Asghar Farhadi's A SEPARATION, gives a tense lead performance), the unbending realism adding to the suspense. BS
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Martin Scorsese's THE AGE OF INNOCENCE (American Revival)
Doc Films (University of Chicago) - Friday, 7 and 9:40pm and Sunday, 1:30pm

Depending on your point of view, this is either one of Martin Scorsese's grandest failures or one of his boldest triumphs. Certainly, it was unexpected for Scorsese to adapt Pulitzer Prize-winning Edith Wharton's novel, set among the high society of 1870s New York. Wharton's style is as reserved as the director's is visceral, and Scorsese approaches the discrepancy as a challenge: How to translate such a literary work, which derives its force from its describing unexpressed emotion, into a wholly cinematic one? Maintaining a placid tone in the performances, Scorsese pours himself into the dressing of the film: decor, positions of extras, music cues, verbose narration. One of the most obvious models here is Kubrick's BARRY LYNDON, a film that Scorsese ranks among his favorites, and it shares with that movie a curiously inverted relationship between surface emotion and dramaturgy. (Indeed, this often seems as much a response to Kubrick as it does to Wharton.) The story is of an illicit affair between the complacent Newland Archer (Daniel Day-Lewis) and his wife's non-conformist cousin (Michelle Pfeiffer), a subject of barely hidden scorn since she walked out on a loveless marriage. Nearly all of the behavior we see is determined (hauntingly, tediously) by a rigid social order and the constant threat of excommunication; for this reason, Scorsese referred to AGE OF INNOCENCE as his most violent film. (1993, 139 min, 35mm) BS
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Miguel Gomes' ARABIAN NIGHTS (New Portuguese)
Gene Siskel Film Center - Check venue website for showtimes

"This film is not an adaptation of the book The Arabian Nights," reads an onscreen title at or near the start of each episode of Miguel Gomes' three-part, six-hour, funny, sad, ambitious, and frequently bewildering epic. The text continues: "The stories Scheherazade tells acquired a fictional form from facts that occurred in Portugal between August 2013 and July 2014. During this period, the country was held hostage to a program of economic austerity executed by a government apparently devoid of social justice. As a result, almost all Portuguese became more impoverished." These titles, which recall the films of Jean-Luc Godard and Adam Curtis in their literariness and blatant political slant, promise a topical work fueled by populist outrage, and indeed, VOLUME 1: THE RESTLESS ONE (2015, 125 min, DCP Digital) is often exactly that. One of its first tales, "The Men With the Hard-Ons," is a piece of broad satire that expresses unmistakable anger towards the IMF; its last, "The Swim of the Magnificents," centers on three heart-tugging monologues by people who lost their jobs during Portugal's economic crisis. As ARABIAN NIGHTS progresses, though, the storytelling becomes more fanciful and the political content grows less obvious. VOLUME 3: THE ENCHANTED ONE (2015, 125 min, DCP Digital) begins with tales about Scheherazade and the "time of antiquity" and ends (in a rhyme with the nonfiction material about dock workers that opens VOLUME 1) with an extended documentary about lower-class Portuguese who trap and raise chaffinches. The film's evolution is as graceful as it is surprising, flowing between fiction and documentary, comedy and pathos, spoken dialogue and song. (Gomes, working with Apichatpong Weerasethakul's regular cinematographer Sayombhu Mukdeeprom, even uses both 16mm and 35mm, as he did in his previous feature, TABU. But while that film had two distinct looks, ARABIAN NIGHTS has at least a dozen, the mélange of visual styles corresponding to the array of narrative styles.) Gradually it becomes clear that Gomes isn't out to make a grand political statement, but rather to create a sweeping mosaic that reflects the confusion and vitality of life at the moment of the work's creation. In this regard, ARABIAN NIGHTS suggests a cinematic analogue to the Clash's triple album Sandinista! (1980), replete with in-jokes, sloganeering, and passages of failed experimentation. Yet even the films' lows--such as the overlong trial sequence at the heart of VOLUME 2: THE DESOLATE ONE (2015, 131 min, DCP Digital)--are invigorating in their ambition and creative energy. Gomes began his 14-month production without knowing what ARABIAN NIGHTS would be about, devising stories in response to what was happening in the world around him. This exploratory spirit can be felt in the finished film, which seems to be discovering itself as it goes along. Its curiosity is infectious. BS
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László Nemes' SON OF SAUL (New Hungarian)
Music Box Theatre - Check Venue website for showtimes

From the opening, an out of focus long take that slowly adjusts its gaze on Saul Ausländer (Géza Röhrig) as he follows an incoming transport of Jewish people into a gas chamber at Auschwitz, it's easy to see that László Nemes's Holocaust film will be deeply intimate. SON OF SAUL strives for authenticity in its historical source material with its unflinching portrayal of the atrocities committed during World War II. Saul works as a member of the Sonderkommando (a group of prisoners tasked with sorting through incoming prisoners goods, cleaning out gas chambers, and disposing of human remains). While at hand with his duties, he discovers the body of a boy he believes to be his son and sets out to find a rabbi so that he can give the boy a proper burial. Nemes's mise-en-scène only focuses on Saul, framing him almost entirely in close up shots while the peripheries are blurred due to the shallow focus employed. These tight frames and close angles show that the film is solely invested in Saul's personal hell. There is no reprieve from the despair. Truthfully, this technique ponders the question of how many other fascinating, individual stories are occurring just off frame. Röhrig's performance is exceptional in portraying a man who is so dead inside, with nothing but a few words and a thousand yard stare. Despite the myriad of abuses Saul is subjected to, he remains steadfast in his goal to bury the boy he believes to be his son; an apt metaphor for the nearly impossible task of remaining hopeful and willing to stay alive during a time when hope was nowhere to be found for so many. SON OF SAUL is a harrowing, cinematic tour de force on one of history's deplorable chapters. (2015, 107 min, 35mm) KC
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Michael Curtiz's CASABLANCA (American Revival)
Music Box Theatre - Saturday, Noon

A strong candidate for the most entertaining movie ever made, CASABLANCA irresistibly weds the theme of self-sacrifice for a greater good to a love story set against the backdrop of wartime intrigue. Mix in Humphrey Bogart and Ingrid Bergman at their most iconic, deliciously witty dialogue, a cast of colorful supporting characters played by unforgettable character actors and the able craftsmanship of director Michael Curtiz and you have Exhibit A for anyone looking to understand the genius of Hollywood's old studio system. You must remember this: Bogie as Rick Blaine, the American nightclub owner living in Morocco, whose cynical exterior conceals a sentimental heart; Bergman as Ilsa Lund, the Norwegian woman he loved and lost in pre-World War II France, only to find again under less-than-ideal circumstances in the Vichy-controlled title city. Out of all the gin joints in the world, why did she have to walk into his?! Thank God for the sake of movie lovers that she did. They'll always have Paris--and we'll always have CASABLANCA. Preceded by a sing-along. (1942, 102 min, 35mm) MGS
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Deniz Gamze Ergüven's MUSTANG (New French)
Facets Cinémathèque - Check Venue website for showtimes

Five orphaned teenage sisters have just finished their day at school at the beginning of summer and spend the afternoon innocently playing at the beach with some boys. Their interactions are witnessed by a concerned neighbor who views their actions as salacious. Upon returning home, they are punished by their grandmother and uncle who brand them as 'whores.' The girls' home becomes more and more prison-like as they are subjugated to training from their elder relatives so that they all can be arranged for marriage. MUSTANG is a coming of age tale about repression and loss of innocence. Deniz Gamze Ergüven's film plays out like criminals being transferred from a minimum-security prison to a medium-security prison and finally to a maximum-security one. Being forced to wear "shit-colored dresses," having bars installed on the windows, and adding higher walls to the perimeter of the house--the girls literally become prisoners in their own home. The symbolism is not subtle, but is effective in demonstrating Ergüven's point of what happens when freedom is stripped. The five female leads have a dynamic chemistry on screen that makes it feel like they really are sisters, aided by their naturalistic dialogue. Themes of sexual awakening and purity are deftly explored as Ergüven avoids the explicit and relies instead on implied off-camera scenes. It's rare to find a film willing to address these subjects as they pertain to women of these ages. Ergüven's change of tone from light-hearted sisterly moments to the morose is impressive given some of the heavier subject material covered in the film's second half. Reminiscent of Sofia Coppola's THE VIRGIN SUICIDES, MUSTANG is a bold directorial feature debut on the transition from adolescence to womanhood. (2015, 97 min, Unconfirmed Format) KC
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The Northwest Chicago Film Society (at Northeastern Illinois University - The Auditorium, Building E., 3701 W. Bryn Mawr Ave.) screens Gus Van Sant's 1991 film MY OWN PRIVATE IDAHO (104 min, 35mm Archival Print) on Wednesday at 7:30pm. Also screening is Van Sant's 1992 short JUNIOR (4 min, 35mm Archival Print).

The Chicago Film Seminar presents a graduate student panel on Thursday at 6:30pm. Participating are Stephen Babish (Northwestern University) with the paper "Empty Spaces: Large-Scale Plans and Urban Dystopia in A Clockwork Orange and THX 1138" and Zdenko Mandu?i? (University of Chicago) with the paper "The Documentary Style in Soviet Cinema of the 1960s." Response by Joshua Malitsky (Indiana University). The event is held at DePaul's Loop Campus in the Daley Building (14 E. Jackson Blvd., Room LL 102; use the State St. entrance located at 247 S. State). Free admission.

Black World Cinema screens Alain Bidard's 2015 animated feature from Martinique, BATTLEDREAM CHRONICLE (108 min, Digital Projection - Unconfirmed Format), on Thursday at 7pm at the Studio Movie Grill Chatham 14 (210 W. 87th St.).

The Significant Surfaces Screening Series presents Thomas Allen Harris' 2014 documentary THROUGH A LENS DARKLY: BLACK PHOTOGRAPHERS AND THE EMERGENCE OF A PEOPLE (90 min, Video Projection - Unconfirmed Format) at the Leland Apartment Community Room (1207 W. Leland) on Sunday at 3pm. Sponsored by Heartland Alliance and the Photography Department at Columbia College Chicago. Free admission, but RSVP at

The Spertus Institute (610 S. Michigan Ave.) screens Steve Rivo's 2015 documentary CARVALHO'S JOURNEY (85 min, Video Projection - Unconfirmed Format) on Sunday at 2pm, with director Rivo in person.

Black Cinema House (7200 S. Kimbark Ave.) screens John Ford's 1934 film JUDGE PRIEST (80 min, Video Projection - Unconfirmed Format) on Friday at 7pm, followed by a discussion with historians Jacqueline Stewart and Miriam Petty. Free admission.

The Film Studies Center (University of Chicago) screens Paul Schrader's 1985 film MISHIMA: A LIFE IN FOUR CHAPTERS (121 min, 35mm) on Wednesday at 7pm. Followed by a Q&A with Philip Glass, moderated by Berthold Hoeckner (U of C Department of Music). Free admission, but the RSVP reservations are currently full; a limited number of standby tickets will be available at the door on a first-come basis.

Chicago Filmmakers (5243 N. Clark St.) screens Edward Dmytryk's 1962 film WALK ON THE WILD SIDE (114 min, Digital Projection - Unconfirmed Format) on Saturday at 8pm (social hour at 7pm) as part of the monthly Dyke Delicious series. Repeat screening at Columbia College (Hokin Hall, 623 S. Wabash) on Tuesday at 6:30pm (no social hour).

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Paul Weitz's 2015 film GRANDMA (79 min, DCP Digital) on Saturday at 2 and 7:30pm; and Henry Hathaway's 1953 film NIAGRA (92 min, DCP Digital) on Wednesday at 1 and 7:30pm. Free admission for both.

Also at the Gene Siskel Film Center this week: Alexander Hall's 1934 film LITTLE MISS MARKER (80 min, 35mm) is on Tuesday at 6pm, with a lecture by Pamela Robertson Wojcik; the shorts program Citizens (1971-2014, 83 min total, Digital Projection except where noted) is on Monday at 6pm. Screenings are: SHULIE (Elisabeth Subrin, 1997), LOVE IT / LEAVE IT (Tom Palazzolo, 1971, 16mm), NOW LET US PRAISE AMERICAN LEFTISTS (Paul Chan, 2001), THE MEANING OF VARIOUS PHOTOGRAPHYS TO TYRAND NEEDHAM (Steffani Jemison, 2009), SOMETHING TO MOVE IN (Latham Zearfoss and Joel Mideen, 2014), and NOW IT IS A MATTER OF LEARNING HOPE (Irina Botea, 2014), with Palazzolo and Zearfoss in person and Subrin appearing via Skype; and Marjorie Keller's experimental films MISCONCEPTION (1977, 43 min, Restored 16mm Print) and DAUGHTERS OF CHAOS (1980, 19 min, 16mm) screen on Thursday at 6pm, with film author (and Keller's widower) P. Adams Sitney and filmmaker Saul Levine in person.

Also at Doc Films (University of Chicago) this week: Sam Mendes' 2015 film SPECTRE (148 min, DCP Digital) is on Saturday at 7 and 9:40pm and Sunday at 4:15pm; Adam Eliot's 2009 film MARY AND MAX (92 min, 35mm) is on Sunday at 7:15pm; Charles Walters' 1948 film EASTER PARADE (107 min, 35mm) is on Monday at 7pm; Dror Moreh's 2012 Israeli documentary THE GATEKEEPERS (101 min, 35mm) is on Tuesday at 7pm; Bong Joon-ho's 2013 film SNOWPIERCER (126 min, 35mm) is on Thursday at 7pm; and Masaki Kobayashi's 1964 film KWAIDAN (183 min, 35mm) is on Thursday at 9:20pm.

Also at the Music Box Theatre this week: Michael Moore's 2015 documentary WHERE TO INVADE NEXT (119 min) opens; Quentin Tarantino's 2015 film THE HATEFUL EIGHT (167 min, DCP Digital) continues with screenings on Friday, Monday, Tuesday, and Thursday at 9:30pm only; Rob Reiner's 1987 film THE PRINCESS BRIDE (98 min, 35mm) is on Saturday at 9:30pm and Sunday at 2pm (preceded by a sing-along); and Danny Boyle's 1996 film TRAINSPOTTING (94 min) is on Wednesday at 7:15, in the occasional Sound Opinions series, with author Irvine Welsh in person. Unconfirmed formats except where noted.

Also at Facets Cinémathèque this week: Jeppe Rĝnde's 2015 Danish/UK film BRIDGEND (105 min, Unconfirmed Format) plays for a week's run.

The Goethe-Institut Chicago (150 N. Michigan Ave., Suite 200) screens Bettina Blümner's 2012 documentary HALF-MOON TRUTHS (89 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Free admission, but RSVP required: call 312-263-0472 or email



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: February 12 - February 18, 2016

Patrick Friel

CONTRIBUTORS / Kyle Cubr, Amelia Ishmael, Ben Sachs, Kathleen Sachs, Michael G. Smith, Kyle A. Westphal, Darnell Witt

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