Chicago Guide to Independent and Underground Cinema
x x x x x x
> Sign up
> Editorial Statement
> Last Week
a weekly guide to alternative cinema- - - - - - - - - - - - - - - - -
:: Friday, APR. 11 - Thursday, APR. 17 ::


The Chicago Latino Film Festival continues through April 17. In addition to the main festival offerings, CLFF is collaborating with the Gene Siskel Film Center to present the series "Latino Oscar." See the Siskel section of More Screenings for details.
More info and complete schedule at



Thom Andersen's RECONVERSÃO (New Documentary)
Conversations at the Edge (at the Gene Siskel Film Center) - Thursday, 6pm

In a recent New York Times article, director Thom Andersen had this to say about his aspirations as a young filmmaker: "One of my friends...said being a major in film was the best thing you could do, because it enabled you to study anything you wanted. I can make films about subjects that I don't have any academic qualifications for." Andersen has directed essay films about proto-cinema pioneer Eadweard Muybridge (though his educational background surely qualifies him to tackle such a subject), victims of the Hollywood blacklist (1996's RED HOLLYWOOD), and the city where he currently resides, Los Angeles, and its representation in cinema (2003's LOS ANGELES PLAYS ITSELF). In his most recent feature-length essay film, Andersen focuses on Portuguese architect Eduardo Souto de Moura, winner of the 2011 Pritzker Prize. In Porto, Andersen shows us some of Souto de Moura's architecture while discussing the artist's life and work in a voiceover. Andersen describes Souto de Moura's fascination with ruins of the past; his attraction to such places is not born of romanticism, but instead of artistic pragmatism. Souto de Moura takes ruins, both from history and his older work, and turns them into something that coexists with the modern world. Andersen shows us this through a staccato style of cinematography that vaguely resembles stop-motion animation or even a GIF image. The result is the appearance of progress that correlates with Souto de Moura's personal philosophy. And just as Souto de Moura reimagines fragments of the past, so, too, does Andersen. Andersen may not be an expert on the subject matter at hand, but he artfully parallels it with his style of filmmaking so as to also create something new from the ruins. Director Thom Andersen in person. (2012, 65 min, Digital Video - Unconfirmed Format) KS
More info at

Robert Altman's NASHVILLE (American Revival)
Doc Films (University of Chicago) - Wednesday, 7 and 10pm

"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. So keep a-goin' and head down to Doc. (1975, 159 min, 35mm) RC
More info at

Pier Paolo Pasolini's HAWKS AND SPARROWS (Italian Revival)
Gene Siskel Film Center - Saturday, 5:45pm

HAWKS AND SPARROWS, Pasolini's 1966 picaresque allegory, follows father-son duo Ninetto Davoli and famed Italian comedian Totò on their aimless walkabout through the Italian countryside. The 'where to' and 'why' of their journey appear almost incidental; the film is primarily a vehicle for Pasolini to challenge the status quo of mid-60s Italy by way of lighthearted farce--because nothing says comedy like the ceaseless, irreconcilable conflict between Christianity and Marxism. Early on Ninetto and Totò are joined by a talking crow, which represents, as an intertitle informs us, a "left-wing intellectual" of the period. The crow harangues the duo with leftist tirades: "My country is ideology. I live in the capital, the city of the future, on Karl Marx Street, No. 70 times 7." As crows go, he's fairly principled but probably not much fun at parties. The film plays out episodically; the principal act ushers Ninetto and Totò back to the thirteenth century where St. Francis orders them to learn the language of the birds so that the hawks and sparrows might be converted to Christianity. Subsequent chapters involve the duo's absurdist roadside encounters, which typically seek to marry questions of ethics and ideology with undercranked run-amoks. Despite admitting in interviews that HAWKS AND SPARROWS edges closer to intellectual gymnastics than initially intended ("too 'ideo' and not 'comic' enough"), Pasolini cited the film as a personal favorite. It counteracts a lack of consistency by providing a fascinating snapshot of a culture and director in flux: The neorealist boat had sailed, Italian communist leader Palmiro Togliatti had died two years earlier, Totò would die the following year, and Pasolini would make TEOREMA two years later, using mostly professional actors for the first time in his career. (1966, 89 min, 35mm) JS
More info at

Ernst Lubitsch's ONE HOUR WITH YOU (American Revival)
Doc Films (University of Chicago) - Sunday, 7pm

There's "The Lubitsch Touch," and then there's "The Lubitsch Takeover." His final pre-Code musical, ONE HOUR WITH YOU, owes the former to the latter. While Lubitsch was under contract with Paramount and working on his 1932 drama BROKEN LULLABY (also known as THE MAN I KILLED), he was made to perform supervisory functions so the studio could get the most out of their deal. In September 1931, a young George Cukor was assigned to direct ONE HOUR WITH YOU, and in less than a month Lubitsch was reworking the script with his long-time collaborator Sam Raphaelson. Though used to having to work his magic on subpar source material, Lubitsch neither rewrote the script at hand nor wrote another one completely. Instead, he and Raphaelson decided to adapt his 1924 silent film THE MARRIAGE CIRCLE into a musical feature. During the next month, Lubitsch oversaw Cukor's direction and, for lack of a better way to put it, became increasingly dismayed with Cukor's lack of "The Lubitsch Touch." By November Lubitsch had taken over completely, though Cukor took no steps in renouncing his directorial credit. The result of this kerfuffle was a case that made it all the way to the New York Supreme Court, though the outcome was hardly a surprise. ONE HOUR WITH YOU is a Lubitsch film through and through, from its inception to its release; even the film's stars, Maurice Chevalier and Jeanette MacDonald, were more comfortable working with the man who'd previously directed them together in THE LOVE PARADE (1929). ONE HOUR WITH YOU follows THE MARRIAGE CIRCLE almost to the tee, with only a few narrative changes and the addition of musical numbers being the biggest differences between the two. In the film, Chevalier's character, Dr. Andre Bertier, is happily married to Collette, played by MacDonald. When Collette's best school friend comes into town, Andre finds himself tempted by the beautiful woman whose loose morals and unhappy marriage are a sharp contrast to those of his wife; all the while his best friend is secretly pining after Collette as she begins to suspect Andre of extramarital debauchery. Though many critics consider THE MARRIAGE CIRCLE to be the superior of the two, Chevalier and MacDonald prove to be more Lubitsch-lively than Monte Blue and Florence Vidor. If there's any doubt that ONE HOUR WITH YOU is solely Lubitsch's film, one only has to look at the placement of the film's first "superjoke," which Billy Wilder considered to be the essence of "The Lubitsch Touch." (Wilder said: "You had a joke, and you felt satisfied, and then there was one more big joke on top of it. The joke you didn't expect.") The film opens in a Parisian police station, where the policeman in charge is calling for the city's parks to be cleared of the troublemakers who inhabit them. The crime in question becomes apparent as Lubitsch dissolves from that scene into a park full of couples making love. The cops begin clearing them out with only one couple daring to shoo them away. One policeman refuses to believe they're married, and asks them to leave. MacDonald says to Chevalier, "There's only one other place to go." "Why not?," he shrugs. That place? Not a cafe as the police would've suggested, or a hotel as Lubitsch might've typically put them in. No, it's their home. The superjoke is marriage itself, and a happy one at that. It's Lubitsch's indelible mark, one that solidifies both his touch and his takeover. (1932, 80 min, 35mm) KS
More info at


Joel and Ethan Coen's INSIDE LLEWYN DAVIS (New American)
Doc Films - Saturday, 7 and 9:15pm and Sunday, 3:15pm

When CBS Films acquired INSIDE LLEWYN DAVIS out of Cannes last year, the upstart distributor presumed that it could ride the Coen Express to Oscar glory and demonstrate its expertise in handling testy auteur cinema. Their dreams were largely dashed, though not before going down in the record books as the first awards campaign nearly derailed by the unauthorized appropriation of a tweet. These details don't necessarily have anything to do with this movie's long-range stature as art, though it's hardly inappropriate that this ridiculously uncommercial venture about a sneeringly arrogant artiste choked outside the confines of the critic's club. It's a Coen project through and through, continuing a hitherto successful formula—exceedingly precise craft applied to caricatures not far removed from the walls of a junior high school toilet stall. (I can't recall another movie where the plot turns on the question of whether a cat possesses a scrotum.) The period details are unusually rich and suggestive—the novelty song "Please Mr. Kennedy," the conditional sympathy of a nascent academic folk fan base, the altogether unexpected elevation of Akron, OH to American Promised Land. What ultimately distinguishes INSIDE LLEWYN DAVIS, though, is its sectarian specificity: it's a movie about the moment when folk music morphed into the folk revival, aimed at a very specialized connoisseur audience fiercely secure in its judgment that clean-cut phonies like the Kingston Trio ruined fucking everything. The critic Leo Braudy has complained that INSIDE LLEWYN DAVIS neglects the folk scene's radical politics. Such a position ignores Llewyn's unstated but unmistakable disgust with troubadour naïf Al Cody and the very idea of a folk singer nurtured by a sojourn in the military industrial complex. This is a movie of private ideals wasted on a world in ashen withdrawal, an irascible old-world sensibility kicked to the curb by musical gentrification.  (Need I mention, too, that the Coens have coolly predicted that this will be their last 35mm production? The results, with DP Bruno Delbonnel subbing for Coen regular Roger Deakins, are lovely and a little disconcerting, as if the film stock itself met condensation at the foot of a noisy Manhattan radiator.) Even if you find nothing ominous in the rise of Peter, Paul, and Mary, INSIDE LLEWYN DAVIS remains a compelling portrait of an artist whose sense of musicianship is so refined that it leaves no room for the audience. It also manages to describe poverty in the most straightforward and useful terms—an improvised existence without the latitude to act in a so-called 'economically rational' manner. Like a record with the needle stuck in the groove, INSIDE LLEWYN DAVIS is an enclosed tragedy. (2013, 105 min, 35mm) KAW
More info at

Monte Hellman's TWO-LANE BLACKTOP (American Revival) 
Doc Films (University of Chicago) - Monday, 7pm

From Kent Jones' essay for the Criterion Collection's DVD release, a superb piece of writing that's worth quoting at length: "[The movie creates] a trancelike absorption in movement and ritual. Hellman's film, like [Jacques Rivette's] PARIS BELONGS TO US, is comprised of many of the in-between moments that most filmmakers would cut. In the process, a strange terrain of tenderness and disconnection inhabited by the four principal characters is mapped out: their shared remoteness is exactly what makes it safe for them to venture into one another's company. This movie about a cross-country race between a car freak in a lovingly souped-up '55 Chevy and a fantasist in a store-bought GTO moves at an even, gliding pace, and it's all about stopping to gas up, eat, make some bread in local quarter-mile drag races, pick up hitchhikers, let the engine breathe, share a drink. The characters think they're in a race, but they're really players in a theater of life, the stage of which stretches from sea to shining sea." While TWO-LANE BLACKTOP has been rightfully recognized as Monte Hellman's masterpiece, it's also worth noting the contribution of writer Rudolph Wurlitzer, himself a worthy successor to Beckett. Wurlitzer was recruited to rewrite the film on the success of his first two novels, Nog (1969) and Flats (1970). Those books are remarkable pieces of experimental fiction that feature characters who are constantly shifting their identities--a novelistic device that Wurlitzer adapts brilliantly to his film script. None of the characters have proper names, and Warren Oates' GTO creates a new history for himself with every conversation he enters into. (As Jones puts it, "Oates is the smiling extrovert-dreamer, for whom everything becomes a part of the Playboy dream he's spinning on his drive across the country... he puts the softness of the American character on display to devastating effect.") These are narrative reflections of the wide, empty spaces that characterize Hellman's mise-en-scene, and they combine to create a memorably eerie portrait of American ambition and folly. (1971, 102 min, 35mm) BS
More info at

Pier Paolo Pasolini's THE GOSPEL ACCORDING TO ST. MATTHEW (Italian Revival) 
Gene Siskel Film Center - Saturday, 3pm and Wednesday, 6pm

In 1963, the well-known atheist and Marxist Pier Paolo Pasolini collaborated with several directors on the satire ROGOPAG. Pasolini's segment, "La ricotta," starred Orson Welles directing a film about the life of Jesus Christ. Due to "publicly maligning the religion of the State" in his film, Pasolini received a suspended prison sentence and the film was banned. In a strange turn of events, only a year later he directed the critically acclaimed THE GOSPEL ACCORDING TO ST. MATTHEW, winning the Special Jury Prize at the Venice Film Festival and the first prize of the International Catholic Office of Cinema. Now considered one of the best cinematic adaptations of Christ's life (played by a young Spanish student of economics named Enrique Irazoqui), the film begins with Christ's birth and continues through his betrayal by Judas and crucifixion at the hands of the Scribes and Pharisees. Most of the film simply concerns Christ sharing his teachings with people, the same beliefs now inculcated into our culture so deeply that they appear secular. Working under the tenets of Italian neorealism, Pasolini shot the film outdoors in the poor Italian district of Basilicata and its capital city Matera, capturing Christ and his disciples in long shots traveling through vast natural landscapes. Pasolini cast non-professional actors (including local shopkeepers, factory workers, and truck drivers) who fully embody their characters and do not rely upon make-up or elaborate costumes; the film and its realist aesthetic benefit most from these people.  He also used actual text from the Bible rather than dramatically modifying it, which gives the film a sense of authenticity missing from other religious pictures. When later asked at a press conference why, as an atheist, he made a film about Christ, Pasolini replied, "If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for belief." THE GOSPEL ACCORDING TO ST. MATTHEW is a great, yet atypical, protest film from the 1960s, telling a story about the origin of faith not only in God, but also in humanity and why it continues to exist. (1964, 137 min, 35mm) CW
More info at

Alfred Hitchcock's ROPE (American Revival)
Music Box Theatre - Sunday, 11:30am

While maybe not Hitchcock's best film, ROPE is certainly one of his most curious. Based on an English play entitled Rope's End in which two elitist university students murder an acquaintance and hold a cocktail party over his hidden corpse, Hitchcock's 1948 film sanitizes it for American audiences. The play, ostensibly about the infamous Leopold and Loeb case, purports a homosexual relationship between the two male leads, and a supposed affair with their former professor--the inspiration for the murder--who also sniffs out the crime at the party. Hitchcock's film, by removing the offending gay cues and suggestive Britishisms--"my boy!"--leaves us mostly with elephants in the room. According to screenwriter Arthur Laurents, Warner Bros. purportedly never used the word homosexuality or its variants, preferring to use "it," and never acknowledged its basis on Leopold and Loeb. It is only fitting that Hitchcock's ROPE, often described as an experiment, would strike such tension with Hollywood filmmaking: dialogue-driven, single location, long takes, etc. Even its unique editing construction--long shots that attempt to hide cuts by disguise through clever camera movements--is interesting considering the Hollywood style of "invisible" editing. ROPE isn't exactly subversive, but it doesn't play by the rules either--a distinctive feature for much of Hitchcock's work. (1948, 80 min, 35mm) BW
More info at

John Carpenter's ESCAPE FROM NEW YORK (American Revival)
Sci-Fi Spectacular at the Patio Theater - Saturday, 10:45pm

High concept and low class, John Carpenter's 1981 sci-fi/action film premises itself on a paranoid endgame scenario: what if crime just keeps going up? Carpenter settles on the conservative trajectory of 400 percent and cedes Manhattan to the most violent criminals, turning it into an island prison and letting it go to ruin. Only the most hardened offenders are sentenced there--new prisoners are given the option of cremation before arrival--making it a particularly bad place for the President (Donald Pleasance) to crash land. Charged with fishing him out within 22 hours, the police commissioner (Lee Van Cleef) offers a full pardon to incoming convict 'Snake' Plissken (Kurt Russell), a former Special Forces operative-turned-criminal--but only if he can successfully recover the President. ESCAPE FROM NEW YORK is a wild ride that is at times clever and at other times surprisingly dull. Most interesting is not the search-and-rescue but the creative depiction of a ruined New York and its ad hoc city-life, circumscribed by extreme danger. An old acquaintance, Cabbie (Ernest Borgnine), watches an all-convict Broadway production before making his way uptown with Molotov cocktails at the ready. Shot mostly in darkness, Carpenter succeeds in creating a closed-off atmosphere that is both somehow dingy and futuristic. These touches, along with several solid performances, breathe life into the rote barrel fire-pocked landscape, and Snake himself. (1981, 99 min, 35mm) BW
More info at


The DePaul Humanities Center at DePaul University presents The Quay Brothers in person for an on-stage conversation about their work on Wednesday at 7pm. This event is at the DePaul Student Center (Room 120, 2250 N. Sheffield Ave.).

The Nightingale presents View Founder: Works of Dani Leventhal + Nightingale Sixth Birthday on Friday at 8pm. Experimental video artist Leventhal will be in person to screen a selection of her short videos (2010-14). Followed by a birthday bash for the Nightingale, including cake (of course) and DJ-ing by Odd Obsession's Brian Chankin.

White Light Cinema at The Nightingale (1084 N. Milwaukee Ave.) presents Nicaragua in the '80s: Las Nicas & Lamento - Two Video Documentaries by Julia Lesage on Saturday at 7:30pm. Lesage will be in person to screen LAS NICAS (1986, 45 min, VHS) and LAMENTO (1986, 12 min, VHS).

Gallery 400 (UIC, 400 S. Peoria) presents UIC alum Masahiro Sugano 2014 documentary CAMBODIAN SON (90 min, Video Projection - Unconfirmed Format) on Monday at 3pm, followed by a Q&A with Sugano; and on Tuesday at 6pm, local filmmaker Mehrnaz Saeed-Vafa presents her 2012 short documentary JERRY AND ME (38 min, Video Projection - Unconfirmed Format).

UIC's School of Literatures, Cultural Studies and Linguistics presents Two Takes on Modernity: Self-Reflexivity and the North Indian Popular Cinema, a lecture by Sangita Gopal (Univ. of Oregon) on Tuesday at 4pm in University Hall 1501 (601 South Morgan Street, at Morgan and Harrison). Free admission.

Block Cinema (Northwestern University) screens Moroccan filmmaker Moumen Smihi's 1981 film 44, OR TALES OF THE NIGHT (110 min, 35mm) on Friday at 7pm, with Smihi in person, and a double feature of his 1999 film MOROCCAN CHRONICLES (70 min, 35mm) and his 2005 film A MUSLIM CHILDHOOD (83 min, 35mm) on Thursday at 7pm. All free admission.

Chicago Art Department Gallery West (1932 S. Halsted St.) presents the one-night gallery show Modern Anxiety on Friday from 6-10pm. Included are video works by current and former Chicagoans Lori Felker, Jesse McLean, Melissa Myser, Jess Myers, and Lucas Shaffer, as well as live musical performances by Ian Sutherland and Dan Velazquez.

The Bijou Theater (1349 N. Wells St.) presents Upstairs/Downstairs: The Bijou Variety Spectacular on Thursday at 8pm. The event will include two films by George Kuchar (KNOCKTURNE and LEISURE, both on 16mm) and unannounced video work; music by Absolutely Not, Les Beaux, and DJ Glory Grooves; and live comedy from Sherman Edwards, The Dowling Brothers, and David Philips.

The Sci-Fi Spectacular takes place at the Patio Theater this Saturday. The line-up is as follows: David Cronenberg's STEREO (Digital Projection) is at 11am; Georges Méliès' 1902 silent short A TRIP TO THE MOON (Unconfirmed Format) is at Noon, with live organ accompaniment; Ishiro Honda's KING KONG VS. GODZILLA (35mm) is at 12:15pm; Ridley Scott's LEGEND (35mm) is at 2:15pm; W.D. Richter's THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION (35mm) is at 4:25pm; Roger Corman 50's Trailer Contest is at 6:25pm; George A. Romero's NIGHT OF THE LIVING DEAD (35mm) is at 6:40pm, with actress Kyro Schon in person; Guillermo del Toro's PAN'S LABYRINTH (Unconfirmed Format) is at 8:30pm, with actor Doug Jones in person; John Carpenter's ESCAPE FROM NEW YORK (35mm) is at 10:45pm (see Also Recommended above); David Cronenberg's THE DEAD ZONE (Digital Projection - Unconfirmed Format) is at 12:30am; and Dario Argento's PHENOMENA (Digital Projection - Unconfirmed Format) is at 2:15am.

At Chicago Filmmakers (5243 N. Clark St.) this week: local filmmaker Kris Swanberg's 2012 film EMPIRE BUILDER (72 min, Video Projection - Unconfirmed Format) screens on Friday at 8pm; and Michelle Ehlen's 2013 film HETEROSEXUAL JILL (80 min, Video Projection - Unconfirmed Format), showing as part of the monthly Dyke Delicious Series, is on Saturday at 8pm (7pm social hour) and on Wednesday at 6:30pm at Columbia College Chicago (Hokin Hall, 623 S. Wabash, Rm. 109).

Also at the Gene Siskel Film Center this week: Larry Clark's 1977 feature PASSING THROUGH (111 min, New 35mm Preservation Print) is on Friday and Tuesday at 6pm, with a lecture by SAIC professor Bruce Jenkins at the Tuesday show; Bertrand Tavernier's 2013 film THE FRENCH MINISTER (114 min, DCP Digital) and Jehane Noujaim's 2013 documentary THE SQUARE (104 min, DCP Digital) both play for a week; In the Latino Oscar series, co-presented with the Chicago Latino Film Festival: Carlos Carrera's 2002 Mexican film EL CRIMEN DEL PADRE AMARO (118 min, 35mm) is on Friday at 8:15pm; Juan José Campanella's 2009 Argentinean film THE SECRET IN THEIR EYES (129 min, 35mm) is on Saturday at 5:30pm; Walter Salles' 1998 Brazilian film CENTRAL STATION (113 min, 35mm) is on Sunday at 3pm; Alejandro Amenábar's 2004 Spanish film THE SEA INSIDE (125 min, 35mm) is on Monday at 8:15pm; and Claudia Llosa's 2009 Peruvian film THE MILK OF SORROW (100 min, 35mm) is on Wednesday at 8:45pm; and in the Asian American Showcase: Grace Lee's 2013 documentary AMERICAN REVOLUTIONARY: THE EVOLUCTION OF GRACE LEE BOGGS (82 min, DCP Digital) is on Saturday at 8pm; Jose Antonio Vargas' 2013 documentary DOCUMENTED (90 min, DCP Digital) is on Sunday at 5:15pm; Jennifer M. Kroot's 2014 documentary TO BE TAKEI (90 min, DCP Digital) is on Monday at 8pm; J.P. Chan's 2013 film A PICTURE OF YOU (83 min, DCP Digital) is on Thursday at 8:15pm, with director J.P. Chan and actress Jo Mei in person; and a special work-in-progress screening of Dinesh Sabu's UNBROKEN GLASS: SCENES FROM A WORK IN PROGRESS is on Sunday at 7:15pm, with director Dinesh Sabu in person.

Also at Doc Films (University of Chicago) this week: John Lasseter's 1998 animated film A BUG'S LIFE (96 min, 35mm) is on Friday at 7 and 9:15pm, and Sunday at 1pm; Joyce Wieland's great 1968 experimental feature REASON OVER PASSION (80 min, 35mm) is on Tuesday at 7pm; Alain Resnais' 1983 film LIFE IS A BED OF ROSES (110 min, DCP) is on Thursday at 7pm; and Claire Denis' 2001 film TROUBLE EVERY DAY (116 min, 35mm) is on Thursday at 9:15pm.

Also at the Music Box Theatre this week: E.L. Katz's 2013 film CHEAP THRILLS (88 min) opens, with director E.L. Katz and star Pat Healy in person at the 7:30pm and 9:45pm Friday screenings; Stéphane Aubier, Vincent Patar, and Benjamin Renner's 2012 animated film ERNEST & CELESTINE (80 min; showing in both the subtitled French version and the English dubbed version--check website for showtimes of each) and Frank Pavich's 2013 documentary JODOROWSKY'S DUNE (90 min) both continue; Denis Villeneuve's 2013 film ENEMY (90 min) and Katsuhiro Ohtomo's 1988 anime AKIRA (124 min, 35mm) are on Saturday and Sunday at Midnight; Lance Bangs' 2014 documentary BREADCRUMB TRAIL (90 min) is on Wednesday at 7:30pm, with director Lance Bangs and Slint band members David Pajo and Todd Brashear in person; and Charlie Chaplin's 100th Anniversary (1914-17, approx. 88 min total, DCP Digital Projection) is on Saturday at Noon, with live organ accompaniment by Dennis Scott. The films showing are KID AUTO RACES AT VENICE, THE NEW JANITOR, MABEL'S MARRIED LIFE, THE FLOORWALKER, and THE IMMIGRANT. Unconfirmed Formats except where noted.

Facets Cinémathèque plays Daniel Patrick Carbone's 2013 film HIDE YOUR SMILING FACES (81 min, Unconfirmed Format) for a week's run.

The Logan Theatre screens Victor Fleming's 1939 classic THE WIZARD OF OZ (102 min, Digital Projection - Unconfirmed Format) on Friday, Saturday, and Monday at 10:30pm.

The Alliance Française (54 W. Chicago Ave.) screens Maïwenn Le Besco's 2011 film POLISSE (127 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30pm, presented by mystery author Sara Paretsky.

The Logan Square International Film Series, in conjunction with saki and Everything Is Terrible, presents Once in a Lifetime: Fifteen and Pregnant, in which Sam Pillsbury's 1998 Lifetime network film FIFTEEN AND PREGNANT (96 min, Video Projection - Unconfirmed Format) is provided with live running commentary by comedians Natalie Josie, Candy Lawrence, and Katie McVay. It's on Friday at 8pm at Comfort Station in Logan Square (2579 N. Milwaukee Ave.). Free admission.

The Italian Cultural Institute (500 N Michigan Ave., Suite 1450) screens Ivano De Matteo's 2012 film BALANCING ACT (107 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Free admission.



The Experimental Sound Studio (5925 N. Ravenswood Ave.) has CHARLEMAGNE PALESTINE: divinitusssanimalusssacréusssorganusss on view through April 13. The installation include sound work, the trademark stuffed animals the artist surrounds himself with at his concerts, and the video SACRE ASNIERES (2000/2013). Curated by Amelia Ishmael.

The Art Institute of Chicago has two video installations currently running. Isaac Julien's The Long Road to Mazatlán is on view until April 13 (Gallery 186) and Amar Kanwar's The Lightning Testimonies is on view until April 13 (Gallery 291).

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

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



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

The Portage Theatre remains closed for the foreseeable future.

The Patio Theater has announced plans to close indefinitely at the end of April.

The Northwest Chicago Film Society has resumed programming on a limited, monthly basis for the present.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

CINE-LIST: April 11 - April 17, 2014

Patrick Friel

CONTRIBUTORS / Rob Christopher, Ben Sachs, Kathleen Sachs, James Stroble, Brian Welesko, Kyle A. Westphal, Candace Wirt, Darnell Witt

> Editorial Statement -> Contact