Chicago Guide to Independent and Underground Cinema
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:: Friday, OCT. 2 - Thursday, OCT. 8 ::


Frank Tashlin's ARTISTS AND MODELS (American Revival)
Gene Siskel Film Center - Saturday, 5pm and Tuesday, 6pm

Three ARTISTS (Frank Tashlin, Jerry Lewis, Dean Martin) and countless MODELS of what 20th (and 21st) century art could be. Controlled and spastic, intelligent and popular--we'd call it a "synthesis" if it didn't predate the elements it combines so fluidly; ARTISTS AND MODELS is the original, Pop before Pop, more avant-garde than the avant-garde, a masterpiece of modernism, post-modernism, and everything that comes after it, as durable as Shakespeare and just as silly and rich with ideas. Advertising colors and wild noises, suave Martin running amok and idiot Lewis charming the ladies. Martin is the talentless painter and Lewis is his hapless roommate, who describes fantastic adventure plots in his sleep. Their upstairs neighbors are a pair of pretty girls who also happen to make superhero stories for a living. A brash, complicated, bizarre, loud, intellectually rigorous, totally brainless movie about art and commerce, friendship, sexual inadequacy, and everything in between, with comic books, cartoon Communists, Rivettian codes, REAR WINDOW parodies, singing, dancing, and Shirley MacLaine. Or, to put it simply: the pinnacle of human expression, a movie against which all other movies should be measured. Lecture by critic and artist Fred Camper at the Tuesday screening. (1955, 109 min, 35mm IB Technicolor Print) IV
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Douglas Sirk's THE FIRST LEGION (American Revival)
Gene Siskel Film Center - Sunday, 5:30pm and Monday, 6pm

THE FIRST LEGION came at a low point in Douglas Sirk's life and career. Unwelcome in post-War Germany, unemployed after being discharged from his unsatisfactory contract at Columbia Pictures, and practically penniless, Sirk, the consummate atheist, created a stirring tribute to the mystery of faith. Shot for next-to-nothing at a Jesuit mission in sleepy Riverside, California, THE FIRST LEGION plays like a more ambivalent version of Billy Wilder's ACE IN THE HOLE, its edges slightly dulled to appeal to the readership of Commonweal. "What I was trying to do was push it definitely towards comedy," reminisced Sirk to Jon Halliday. "There is a miracle that is not a miracle, but because of it a lot of things happen to this little monastery, and then God says, 'Now I'll send them a real miracle.' It is as if God is stepping forward saying, 'It seems there has been a false miracle around here, a thing which can make no one very happy, but by God there shall be a real one. I'll show you,' and he rolls up his sleeves." I'll show you--the sentiment is more literal than Sirk's vision of a scrappy, barroom-brawling deity might suggest. THE FIRST LEGION turns on the question of what a miracle might look like, how we might recognize it--and how we might represent it on screen. THE FIRST LEGION, outwardly less energetic and less stylized than Sirk's color films that would soon follow, is nonetheless equally roused by the expressive challenge of filmmaking. "Sirk's camera does not accept the world at its face value but rather questions it," noted the critic John Belton. "[T]he reality of his world, as a result, is not absolute but relativistic. The meaning of events gradually becomes more and more obscure, dependent upon each character's imperfect perception of them." Describing the final sequence, Fred Camper has located the crux of the film: one woman's miracle is another's moment of "terrifying, even self-destroying irrationality." For secular cinephiles, the most miraculous turn of events is probably the very existence of a restored 35mm print from UCLA Film & Television Archive. Never released on home video and very rarely screened theatrically, THE FIRST LEGION used to circulate only in collector's prints. I booked one that had been deposited at the Academy Film Archive a few years ago, and was instructed to obtain copyright clearance from THE FIRST LEGION's presumptive owner, Emmet Lavery, Jr., son of the late screenwriter. He received the request enthusiastically and offered generous terms, but there was a soft sadness in his voice: "Let me guess, another Sirk retrospective?" Guilty as charged. Now that THE FIRST LEGION is back, who's up for restoring the rest of the Cinema of Emmet Lavery? (1951, 86 min, Newly Restored 35mm Print) KAW
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John Ford's THE LONG VOYAGE HOME (American Revival)
Gene Siskel Film Center - Sunday, 3:30pm and Wednesday, 6pm

One of the greatest examples of the Hollywood system at work, THE LONG VOYAGE HOME is a conflation of several great artists at their peak. At the time, Eugene O'Neill was the most prominent name connected to the picture: He had won the Nobel Prize for Literature four years earlier, and his invaluable contribution to American letters (finding poetic depths in depraved and downtrodden lives) already saw pervasive influence on modern drama. But no less significant to the film were screenwriter Dudley Nichols, who overcame the challenge of adapting four early O'Neill plays (autobiographical works about life at sea) as a single narrative; principal actor Thomas Mitchell, who brought quiet remorse to over-the-hill sailor Driscoll, a voice of authority who could have led a lesser performer to bombast; cinematographer Gregg Toland, first employing here the expansive deep-focus effects he'd be credited with "inventing" on CITIZEN KANE (1941); and, last but not least, director John Ford, capable of uniting the disparate creative elements and finding sincere uplift even in O'Neill's most pessimistic stories. Ford achieves these things not by altering the source material (In fact, it was O'Neill's favorite movie adaptation of his work) but by expanding on O'Neill's buried humanism with his characteristic feeling for professional groups. (1940, 105 min, Newly Restored 35mm Print) BS
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John Cromwell's OF HUMAN BONDAGE (American Revival)
Doc Films (University of Chicago) - Sunday, 7pm

Andrew Sarris wrote that "the motto of [John] Cromwell's cinema has been cherchez la femme." French for "seek the woman," the phrase is applicable to Cromwell's films in that they're known mostly for the women in them rather than the man who made them. OF HUMAN BONDAGE is certainly no exception. As Mildred Rogers in this early adaptation of the W. Somerset Maugham classic, Bette Davis doesn't so much shine as glower, her luminous eyes almost hatefully dull. She fought for the role in spite of various obstacles; not only was she under contract with Warner Brothers, but the studio heads were reluctant to let her play such a gritty part, especially when numerous other actresses had already rejected it. They eventually acquiesced in exchange for RKO star Irene Dunne. (Most importantly, though, Maugham himself was in favor of the casting, a fact that adds further gravitas to Davis' heavy performance.) The rest, as they say, is history. Davis' portrayal as the boorish waitress was the first of many such bold endeavors; from JEZEBEL in 1938 to BEYOND THE FOREST in 1949 to WHAT EVER HAPPENED TO BABY JANE? in 1962, she proved fearless when it came to being (and sometimes even looking) bad on screen. Leslie Howard is also quite good as Philip Carey, with his natural decorum providing the perfect foil for Davis' artful impropriety. Anyone who's read the novel will surely feel the spirit of Maugham's complex characters in their nuanced performances, though Cromwell and crew were forced to work around the newly enforced Production Code. Funnily enough, the end of Maugham's masterful treatise on human suffering is basically a censor's wet dream: Mildred dies alone, and Philip observes that "the simplest pattern, that in which a man was born, worked, married, had children, and died, [is] likewise the most perfect." Regardless of such irony and what it says about the Hays Code, Cromwell's OF HUMAN BONDAGE is a competent adaptation of a great novel that's notably heightened by exceptional performances. (1934, 83 min, 35mm) KS
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Robert Altman's COME BACK TO THE 5 & DIME, JIMMY DEAN, JIMMY DEAN (American Revival)
Block Cinema (Northwestern University) - Friday, 7pm

A forgotten mid-period gem from Robert Altman's nearly fifty-year career. A middling story, adapted from Ed Graczyk's play--which Altman directed on Broadway to poor reviews--COME BACK is a curious hybrid of film, theater, and television that takes the best Altman offers to each. Set entirely in a Woolworth's, near the filming location of GIANT, a nearly all-female James Dean fan club reunites twenty years after the actor's death. After the sole male member of the fan club returns as a woman, the story coalesces around soap opera secrets and their hammy revelations, befores and afters, literal mirrors and their reflected transformations. Altman's "roaming camera" of orchestrated pans and zooms makes the claustrophobic space open and lively, and flashbacks to 1955 are shown through the general store's theatrical two-way mirrors. Genuine and artful performances (Pauline Kael wrote of the actresses: "They bring conviction to their looneytunes characters") builds meaning and helps draw out the cause and effect of Graczyk's text through Altman's craft. The two are meant for each other: both peddle in pop culture iconography, religio-hyperbole, and insular, provincial groups of deeply flawed people. However, where Graczyk turns to nostalgia and melodrama, Altman elicits a complex mix of sentimentality and cynicism. With star Karen Black's widower Stephen Eckelberry in person. Preceded by a short film directed by Black. (1982, 109 min, 35mm) BW
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Wim Wenders' ALICE IN THE CITIES (German Revival)
Gene Siskel Film Center - Friday, 6pm and Saturday, 3pm

Wim Wender's fourth film is a study in contrasts: between photography and the written word, between Europe and America, bachelorhood and parenthood, contrived soul-searching and genuine epiphany. A navel-gazing German journalist (Rüdiger Vogler) equipped with an early Polaroid camera returns existentially empty-handed from a road-trip across America, only to find himself the de-facto caretaker of an abandoned ten-year old girl, the eponymous Alice (Yella Rottländer). Traveling through Europe in search of Alice's relations, lost in the way which only humans who pre-date cell phones and the Internet can be, the pair form a strange albeit wholesome partnership in a sort of platonic take on the road trip section of Lolita.  Wenders is the warmest of the New German Cinema auteurs and, despite its bleak landscapes and damaged characters, ALICE is a surprisingly gentle and optimistic film. It is the first of Wender's road trilogy, and an early collaboration with cinematographer Robby Müller. (1974, 110 min, DCP Digital; New Restoration) ML
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Steven Lisberger's TRON (American Revival)
Doc Films (University of Chicago) - Thursday, 9:15pm

A few years back, the Walt Disney Company dreamed of reviving TRON, building a global, mass-market franchise out of a film most fondly remembered by laserdisc collectors and middle-school computer instructors. (Indeed, I first saw it in seventh grade, spread across a few days of a DOS-era programming elective.) The new franchise beachhead, 2010's arrogantly uncompelling TRON: LEGACY, cashed in on the post-AVATAR 3-D boomlet, but TRON 3 has stalled out indefinitely. Disney's shareholders may be disappointed, but the real TRON legacy belongs to those who cherish this echt-1982 experiment on its own terms. At first, TRON may sound like an unlikely candidate for large-format thrills, but its primitive CGI effects withstand latter-day scrutiny through a combination of restraint and clean, Day-Glo design. (They're certainly more elegant than the embarrassing digital f/x of many '90s blockbusters, like ESCAPE FROM LA.) Though one friend left a 1982 showing aghast at the movie's dumbly literal idea of how data worked and what it meant, this lack of human imagination is probably TRON's greatest strength: it's a movie set inside a computer that feels wholly computerized in affect and effect. The screenplay comes off more like machine-labor than human effort, as if Disney developed a proprietary algorithm to crunch together the formulae of fifty recent s-f blockbusters and produce a best-approximation of the box office sweet spot. The robotic edifice is revealed most directly when TRON engages sexual matters: we're confused to hear about Cindy Morgan's messy bedroom habits in the middle of a Disney showcase, and her last-minute partner swap plays like an A.I. hiccup. There's something oddly moving about the miscalculations of TRON--a cyborg's kludgey effort to conjure a flesh-and-blood past. (1982, 96 min, 35mm) KAW
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George Cukor's SYLVIA SCARLETT (American Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) - Wednesday, 1 and 7:30pm (Free Admission)

Jonathan Rosenbaum, Adrian Martin and Armond White have all credited this film as being decades ahead of its time: Rosenbaum for its abrupt shifts in tone (which he likens to the French New Wave), Martin and White for its subversion of gender politics. Katherine Hepburn's Sylvia disguises herself as a boy while on the run with her crooked father and his ban of con-artists. Her flirtations with the two male leads (including Cary Grant) indeed yield unexpected and emotionally resonant complications. It should be noted, however, that Cukor was embarrassed of the film, considering its transgressions to be accidents, a result of nobody in the production knowing quite what they wanted. Regardless, it's still one-of-a-kind, recklessly independent of Hollywood conventions in a way few other movies of the period are. (1935, 95 min, 35mm) BS
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Anna Boden and Ryan Fleck's MISSISSIPPI GRIND (New American)
Music Box Theatre - Check Venue website for showtimes

Anna Boden and Ryan Fleck's latest joint venture is an exploration of gambling and the addictions that can often coincide with it. Gerry (Ben Mendelsohn) is a gambler who's hit hard times and is always looking for that one big win to put him back on top. He meets the charismatic poker player Curtis (Ryan Reynolds) one night, and the two quickly become friends. Hell bent on hitting every gambling house and casino for some action in Mississippi on their way to a big poker tournament in New Orleans, their vices and greed quickly show what's truly at stake. GRIND is character study/road trip piece that's dirty and gritty, draped across the neon lights of so many casinos. Mendelsohn's character plays out like a toned down version of Dustin Hoffman in RAIN MAN, constantly trying to learn other players tells and looking to every sign in his life as a reason to bet big. What's left is a broken family man who's in far too deep in every aspect of his life--financially, professionally, and paternally. Like any good gambling saga, Gerry and Curtis have their ups, downs, and runs. Reynolds performance is an extension of the suave, aloof characters he's played before, but for every part that he falters, Mendelsohn more than shines. MISSISSIPPI GRIND faithfully shows the realistic side to gambling and that sometimes luck is the only thing that matters. (2015, 108 min, DCP Digital) KC
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Pete Docter and Ronaldo Del Carmen's INSIDE OUT (New American Animation)
Doc Films (University of Chicago) - Saturday, 7 and 9pm and Sunday, 3:45pm

Can you imagine anybody in a Pixar movie being unemployed? The Pixar universe is practically a New Deal full-employment program, where wacky ants, pre-fab toys, superhero kids, and adorable monsters strive to be more productive members of society. "Is there any other production house operating today that is more obsessed with narratives of the workplace and employment?" asked James Douglas this summer in The Awl, responding to the release of INSIDE OUT. "The basic Pixar story is that of an individual seeking to establish, refine, or preserve their function as an instrument within a system of labor." Far from being kids movies, the Pixar canon is judiciously engineered to play upon the specific anxieties of parents: Am I spending enough time with my daughter? How can I sustain the responsibilities of adulthood while preserving adolescence a moment longer? What would I do if I didn't get up and go to work every morning? The erosion of innocence is inevitable--There Is No Alternative. INSIDE OUT pushes this paradigm to a new frontier, the industrialization of neuropsychology. We feel nothing without somebody working for it. Director Pete Docter has not been shy about touting his team's extensive scientific research, insisting that their fanciful emotion factory, with its literal train of thought, hews to real theories of adolescent development. And yet the chief interest of INSIDE OUT is not psycho-, but rather sociological: as Michael Castelle has noted previously in this space, we can observe in Pixar's output "an elaborate cinematic allegory" and "unconscious biography" of the Emeryville company and the broader Bay Area tech industry. INSIDE OUT is the first Pixar movie to be explicitly set in its own backyard, though few natives would recognize Docter's vision of San Francisco, land of decrepit, undesirable single-family houses. It simultaneously skewers Pixar's core NPR-listening, squishy liberal demographic and flatters their prejudices: the only pizza to be found in San Francisco is an organic pie topped with broccoli, while Hell is a bus trip across the Bay Bridge to Oakland. And what to make of the categorically false assurance that "there are no bears in San Francisco?" (What about otters?) Oh, and can we talk for a minute about INSIDE OUT's less-than-cutting-edge gender politics? It's great that Pixar made a movie that revolves around the emotional life of an adolescent girl. But it's smothered by a dim-witted gender essentialism that can't be ignored. When we briefly see inside the minds of the girl's parents, we find a mother whose emotions are uniformly weepy and feminized, while the father's brain operates like a short-fused, potato chip-scented edition of Sports Center. That Riley's internal dialogue is allowed the heterogeneity of Amy Poehler and Lewis Black is curious, but only just--INSIDE OUT teases a notion of gender fluidity that it's not equipped to address. Wake me for the Pixar movie that does.  (2015, 102 min, 35mm) KAW
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At the Film Studies Center (University of Chicago) on Friday at 7pm is 3D Rarities (approx. 94 min total, DCP Digital; New Restorations), a program of 3D shorts including THRU THE TREES, WASHINGTON DC (1922) and BOO MOON, a 1953 Casper the Friendly Ghost cartoon. With Bob Furmanek, founder of the 3-D Film Archive, and Greg Kintz, the archive's technical supervisor, in person; the Film Studies Center also kicks off a week-long series of screenings, events, talks, and in-person appearances celebrating the work of French filmmaking legend Agnès Varda, many with her in person. On Thursday, Varda's 2011 television production AGNÈS VARDA: FROM HERE TO THERE screens in two installments. Episodes 1 and 2 are at 5pm and Episodes 3-5 are at 7pm, with Varda in person. Free admission, but these screenings are SOLD OUT. You can join a wait-list at the following link, as well as view the entire schedule:évardaexpo-chicago. All FSC events are at the Logan Center for the Arts (915 E. 60th St.).

Chicago Filmmakers (5243 N. Clark St.) presents Digital Destinies: Films by Gina Telaroli on Saturday at 8pm. Screening are 4'8 1/2" (2011, 10 min), DIGITAL DESTINIES (2012, 12 min), and TRAVELING LIGHT (2011, 58 min). Digital Projection for all. The program repeats at Columbia College (Hokin Hall, 623 S. Wabash Ave.) on Wednesday at 6:30pm.

The Conversations at the Edge series at the Gene Siskel Film Center presents Louis Henderson: Melts Into Air on Thursday at 6pm, with British filmmaker Henderson in person. Screening are two recent work: LETTRES DU VOYANT (2013) and MELTS INTO AIR (2014). Approx. 60 min total, HD Projection.

Comfort Film at Comfort Station Logan Square (2579 N. Milwaukee Ave.) presents Michael Krueger's 1987 film MINDKILLER (84 min, Digital Projection) on Wednesday at 8pm. Free admission.

The Nightingale (1084 N. Milwaukee Ave.), Chicago Film Archives, and Experimental Sound Studio present Kinosonik #4: Industry, Design & Experimentation (approx. 45 min total, Digital Projection) on Saturday at 8pm. The program of shorts from CFA's holdings, with live scores by Damon Locks and Peter Maunu, includes: ADAMS FILM (Lawrence Janiak, 1963, 9 min), TAI CHI BOWLING (JoAnn Elam, c. 1972, 11 min), and FULL CIRCLE (Robert Stiegler, 1968, 25 min.).

The Black Cinema House (7200 S. Kimbark Ave.) screens D.W. Griffith's 1915 film THE BIRTH OF A NATION (190 min approx., Unconfirmed Format) on Friday at 7pm. Jacqueline Stewart (University of Chicago) and Miriam Petty (Northwestern University) introduce the film and lead a post-screening discussion; and on Sunday at 4pm, Agnès Varda's 1968 film BLACK PANTHERS (30 min, Unconfirmed Format) and her 1980 film MURALS... MURALS (81 min, Unconfirmed Format) are screening. Introduced by Rebecca Zorach (Northwestern University).  Free admission for both, but limited seating; RSVP at

The Museum of Contemporary Art Chicago screens artist and filmmaker Scott Reeder's 2015 film MOON DUST (90 min, Unconfirmed Format) on Saturday at 7:30pm. Free admission.

The Asian Pop-Up Cinema Series screens Yee Chih-yen's 2014 Taiwanese film MEETING DR. SUN (93 min, Digital Projection - Unconfirmed Format) on Tuesday at 7:30pm at the Wilmette Theatre and Wednesday at 7:30pm at AMC River East 21.

Also at the Gene Siskel Film Center this week: Fatih Akin's 2014 French/German film THE CUT (138 min, DCP Digital), Michael Beach and Christopher K. Walker's 2015 documentary WELCOME TO LEITH (86 min, DCP Digital), Matthew Heineman's 2015 documentary CARTEL LAND (98 min, DCP Digital) all play for a week; Wim Wenders' 1972 film THE GOALIE'S ANXIETY AT THE PENALTY KICK (101 min, DCP Digital; New Restoration) is on Saturday at 5:15pm and Wednesday at 8pm; and Abby Ginzberg's 2014 documentary SOFT VENGEANCE: ALBIE SACHS AND THE NEW SOUTH AFRICA (84 min, DCP Digital) is on Sunday at 5:30pm, with Ginzberg, subject Alby Sachs, and human rights activist Prexy Nesbitt in person.

Also at Doc Films (University of Chicago) this week: George Lucas' 1973 film AMERICAN GRAFFITI (110 min, 35mm) is on Friday at 7 and 9:15pm and Sunday at 1:30pm; Eric Rohmer's 1982 film LE BEAU MARIAGE (97 min, 35mm) is on Monday at 7pm, and a free make-up screening of Rohmer's 1981 film THE AVIATOR'S WIFE (108 min, DCP Digital) is on Monday at 9pm; Tay Teck Lock's 1998 Singaporean film MONEY NO ENOUGH (98 min, DVD Projection) is on Tuesday at 7pm; Ingmar Bergman's 1953 film SAWDUST AND TINSEL (93 min, 16mm) is on Wednesday at 7 and 9pm; and Gordon Parks' 1969 film THE LEARNING TREE (107 min, 35mm) is on Thursday at 7pm.

Also at the Music Box Theatre this week: Severin Fiala, Veronika Franz's 2014 Austrian horror film GOODNIGHT MOMMY (99 min) continues; Geeta and Ravi Patel's 2014 documentary MEET THE PATELS (88 min, DCP Digital) continues Friday-Sunday at 2pm only; Shinji Higuchi's 2015 film ATTACK ON TITAN, THE MOVIE: PART 1 (90 min) is on Tuesday at 7:30pm; David Hunt's 2013 film LIVING DARK: THE STORY OF TED THE CARVER (112 min, Digital Projection - Unconfirmed Format) is on Tuesday at 9:45pm; John Ford's 1941 film HOW GREEN WAS MY VALLEY (118 mins, 35mm) is on Saturday and Sunday at 11:30am; and Hank Tsui's 1997 film DOUBLE TEAM (93 mins, 35mm) is on Friday and Saturday at Midnight.

Also at Block Cinema (Northwestern University) this week: Lyric Cabral and David Felix Sutcliffe's 2015 documentary (T)ERROR (93 min, DCP Digital) is on Thursday at 7pm, with co-director Cabral in person. Preceded by a reception.

Facets Cinémathèque screens Amy Berg's 2015 documentary PROPHET'S PREY (92 min, Unconfirmed Format) and Ariel Kleiman's 2014 Australian film PARTISAN (98 min, Unconfirmed Format) for week-long runs.



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 Art Institute of Chicago is running artist Charles Ray's 1996 film FASHIONS (13 min, 16mm Projection) through the remainder of the run of the exhibition Charles Ray: Sculpture 1997-2014 (ends October 4). It is on View in Gallery 186 and screens daily at the following times: Monday, Tuesday, Wednesday, and Friday at 11am, 1:30pm, and 3pm; Thursday at 11am, 1:30pm, 3pm, and 6:30pm; and Saturday and Sunday at 1:30 and 3pm.

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.

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



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: October 1 - October 8, 2015

Patrick Friel

CONTRIBUTORS / Kyle Cubr, Mojo Lorwin, Ben Sachs, Katheen Sachs, Ignatiy Vishnevetsky, Brian Welesko, Kyle A. Westphal, Darnell Witt

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