CRUCIAL VIEWING
Hans-Jürgen Syberberg's HITLER:
A FILM FROM GERMANY
(Documentary Revival)
Gene Siskel Film Center - See Venue website for showtime breakdown
In Hans-Jürgen Syberberg's staggering HITLER: A FILM FROM GERMANY,
Hitler, the subject of the 20th century, is embarked upon by
cinema, the art form of the 20th century. That is to say, it's
not a movie about him, or one featuring him, but an intentional
(rather than incidental) use of the cinematic medium, with all its relational
aspects, to encompass, reflect upon and deal with the indelible subject
matter. Michael Atkinson writes: "OUR HITLER [the film's alternative,
Francis Ford Coppola instated title], a seven-plus-hour mega-essay,
is [Syberberg's] skyscraper and warship, a discourse-voyage through
the meanings and ramifications of der Führer via stage tropes, puppet
theater, re-enacted history, philosophical speculation, interviews,
masquerade, vaudeville lampoon, Nazi film and audio clips, symbolist
tableaux, German Expressionism, ad friggin' infinitum, all of it shot
in a wreath of mist and in front of a giant projection screen in a cavernous
Munich warehouse. Dull or hypnotic or sometimes both at once, it's a
movie that creates its own way of watching, inoculated and unconcerned
about progression, and it might be best looked upon like a Warhol marathon,
a contemplative day-trip accommodating naps and dope and phone calls
and digressions of your own... Susan Sontag famously compared it to,
well, nothing else on Earth, and as with so many things it seems impossible
to argue with her." Sontag's definitive essay should be read in accordance
with watching the film (The author of the blog SHOOTING DOWN PICTURES
put together this great video featuring a woman reading a section of
Sontag's piece on HITLER over scenes from the movie: alsolikelife.com. Here is her final, glowing pronouncement:
The film tries to say everything. Syberberg belongs to the race of
creators like Wagner, Artaud, Céline, the late Joyce, whose work annihilates
other work. All are artists of endless speaking, endless melody--a voice
that goes on and on. (Beckett would belong to this race too were it
not for some inhibitory force--sanity? elegance? good manners? less
energy? deeper despair?) Syberberg's unprecedented ambition in HITLER:
A FILM FROM GEMRANY is on another scale than anything one has seen on
film. It is work that demands a special kind of attention and partisanship;
and invites being reflected upon, reseen. The more one recognizes of
its stylistic references and lore, the more the film vibrates. Syberberg's
film belongs in the category of noble master-pieces which ask for fealty
and can compel it. After seeing HITLER, there is Syberberg's film--and
then there are the other films one admires. (Not too many these days,
alas.) As was said ruefully of Wagner, he spoils our tolerance for the
others.
While you can see the two different approaches in each critic's
quote to tackling this fucking monster of a movie, there's also the
one that says this is best seen at home (it is available to watch on
Syberberg's website for a small donation towards a church
tower) with the ability to pause, take breaks, rewatch, etc.. Your approach
will most likely depend on your mood, but HITLER does not come around
often (like once a generation), so it is highly recommended that the
opportunity be seized. (1977, 428 min, 35mm) KH
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More info at www.siskelfilmcenter.org.
Monte Hellman's RIDE IN THE WHIRLWIND
and THE SHOOTING
(American Revivals)
Doc Films (University of Chicago) - Monday, 7pm (Ride) and 9pm (Shooting)
These early efforts by the great Monte
Hellman (TWO LANE BLACKTOP) are pioneering examples of what Jonathan
Rosenbaum would later term the "Acid Western." In both films, Hellman
takes common iconography of the genre--barren landscapes, cowboys posing
with intractable stoicism--and strips them of any mythologizing context,
repositioning them as eerie, quasi-abstract art. There's little plot
to summarize in either RIDE IN THE WHIRLWIND (1965, 82 min, 16mm) or
THE SHOOTING (1967, 82 min, 16mm): both films deposit their archetypal
characters in the Utah desert and wait (and wait and wait) for conflict
to catch up with them. In THE SHOOTING, Hellman and screenwriter Carol
Eastman (who would write FIVE EASY PIECES a few years later) even omit
the motivations of their main characters, a group of travelers going
off the beaten trail to search for a wanted criminal. Constructed around
a central absence, THE SHOOTING recalls the absurdist dramas of Samuel
Beckett--which Hellman staged in Los Angeles, incidentally, before becoming
a filmmaker. It's the artier of the two films, suggesting an advancement
on the already minimal WHIRLWIND, but in fact they were shot simultaneously.
(Leave it to Roger Corman, who produced them both, to raise such fertile
common ground between the drive-in and the avant-garde.) And seen in
light of its successor--or under the influence of any number of controlled
substances, for that matter--RIDE IN THE WHIRLWIND generates a trance
plenty accomplished in its own right. Many of the scenes in this slow
chase story (about three cowpokes mistaken for bandits) raptly observe
actions left out of other Westerns: men saddling their horses, building
a campfire, etc. Yet as in Andy Warhol's films, these banal activities
are rendered strange by seeming to exist in isolation. The same can
be said of the performances in both films, which feature Harry Dean
Stanton (WHIRLWIND), Warren Oates (SHOOTING), and Jack Nicholson (both)
projecting finely honed mannerisms into an uncaring void. BS
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More info at www.docfilms.uchicago.edu.
Aldo Tambellini's BLACK FILMS & Tambellini and Otto Piene's BLACK GATE COLOGNE (Experimental Film/Television
Revival)
White Light Cinema at The Nightingale - Sunday, 7:30pm
Aldo Tambellini is likely a new name
to you, but the breadth of his work (which encompasses varied styles
and media) is mightily impressive. In the 50s and 60s, Tambellini was
a fixture in the New York art scene, where he was a curator, advocate,
and creator. The BLACK FILMS, a series of camera-less, scratched-upon,
and found-footage films from the mid to late 1960s, explores blackness
from a number of angles: as an artistic concept and as a starting point
for vision (BLACK IS); as a physiological state to pass through (BLACK
TRIP); and, in the bulk of the work, as a political and racial identity.
BLACK PLUS X seems at first the most gentle and lyrical of the films
in this program, as a simple swaying camera captures black folks living
and enjoying summertime amusements. But there's a brutal satire contained
within: Tambellini flips the image to negative, putting the black children
in cinematic whiteface. BLACK TV is the tour-de-force of the program,
using split screens and rephotographed television imagery to consider
assassinations and war--a cultural landscape that is bluntly and bleakly
black. Also showing is Tambellini and Otto Piene's pioneering 1968 television
work, BLACK GATE COLOGNE. Introduced by SAIC Professor Bruce Jenkins.
(1965-1968, 87 min total, video) JM
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Note: this program is organized
by C-F editor Patrick Friel
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More info at www.whitelightcinema.com and www.nightingaletheatre.org.
Stan Brakhage: From Reagan to Bush
- 1980-1990 (Experimental Revival)
Doc Films (University of Chicago)
- Tuesday, 7pm
Doc kicks off an impressive series
of late-period films by the great Stan Brakhage this week. And, since
late-period, that means relatively unknown Brakhage, as his best-known
works date from the 1950s-70s. And that means major revelations even
for those of us who have seen a boat-load of Brakhage already. This
first program has one of his most celebrated (and atypical) films of
the period: the found-footage work MURDER PSALM (1980). Here Brakhage
comes closer to a freewheeling quasi-Surrealist sensibility than he
had since his early 50s psychodramas. It is a masterful, disorienting,
and disturbingly disjunctive work that feels like a critique of pop-psychology--the
looking for easy answers and connections in a world that is deep and
complex. His images are kitschy and "fun" but his editing constantly
undercuts any surface reading, forcing one to confront darker subtexts.
Also showing are the delicate, unfathomably beautiful UNCONSCIOUS LONDON
STRATA (1981), and two unseen films, THE LOOM (1986) and CITY STREAMING
(1990). (1980-90, 104 min total, 16mm) PF
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More info at www.docfilms.uchicago.edu.
Jacques Tourneur's THE FEARMAKERS (American Revival)
Music Box - Saturday and Sunday, 11:30am
Devious Commies are taking over the PR firms of America! What should
be a silly bit of Red Scare fear-mongering--dumb fun, at best--is put
through the Tourneur wringer and emerges as lean conspiracy-horror.
Dana Andrews (who refused to do the film unless Tourneur directed it)
returns from a POW camp to a vaguely-defined, cardboard-looking Washington,
DC and begins to suspect that Communist agents have infiltrated the
city. The Americanism is even more surreal than in Leo McCarey's somewhat
similar MY SON JOHN (the final shot frames two people kissing in from
of the Lincoln Memorial in such a way that they appear to be jointly
fellating Honest Abe's marble head), and Tourneur paradoxically makes
the film more ambiguous by making the Communist conspiracy unambiguously
real. Unlike in the director's subtler films, the fixations on perception
here are so literally stated (the first scene post-credits is of Andrews
getting an eye exam) that they offer the idea that Tourneur did for
the mind what Cronenberg would later do for the body. (1958, 84 min,
35mm) IV
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More info at www.musicboxtheatre.com.
Gaspar Noé's ENTER THE VOID (New
French)
Music Box - Check Venue website for showtimes
Gaspar Noé's first feature in seven
years is finally here, and, as Mr. Noé's movies tend to do, it has
divided critics and audiences alike. Noé scores most of his points
through an aesthetic strategy of shock and awe, which came to a head
in the infamous rape scene in IRREVERSIBLE (2002). That scene, presented
as a nine-minute single-take "spectacle," asked whether filmmaking
could bypass any moral qualms through minimizing judgment and maximizing
technical virtuosity. Shot in English (so as not to distract Americans
from the visuals), ENTER THE VOID takes place in Tokyo's jungle of neon-lights,
the perfect background for Noé's exploration of drugged-out--and atheistic--ideas
of what life and death look like on drugs. The story is simple: Oscar,
20, is a drug dealer who reunites with his stripper sister. He reads
the Tibetan Book of the Dead. [Spoiler alert if you haven't
seen the trailer.] He gets gunned down by the police for selling
drugs. (Noé reportedly also chose Japan for its extreme anti-drug policies,
so as to legitimize the character's paranoia.) Then, as an immaterial
spirit, he watches from the ether the life he left behind. If this sounds
like the ultimate stoner movie, that's because it is: Noé reportedly
conceived of the film ever after watching Robert Montgomery's first-person
noir LADY IN THE LAKE (1947) on 'shrooms in his early 20s. Writing
in the New York Times, Manohla Dargis wrote that ENTER THE VOID "is an exceptional work,
though less because of its story, acting or any of the usual critical
markers. What largely distinguishes it, beyond the stunning cinematography,
is that this is the work of an artist who's trying to show us something
we haven't seen before, even while he liberally samples images and ideas
from Stanley Kubrick and the entirety of American avant-garde cinema." With its hovering, out-of-body-like camerawork that seems to want to
rip itself from the reins of human attachment and its intense experimental
stretches, it also may be the first movie of the year that 3D technology
might have organically served better, and most likely, the last. (Does
Herzog's CAVE OF FORGOTTEN DREAMS come out this year?). (2009, 162 min,
35mm) KH
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More info at www.musicboxtheatre.com.
ALSO RECOMMENDED
Henri-Georges Clouzot's THE MYSTERY
OF PICASSO (French Revival)
Gene Siskel Film Center - Saturday,
2:15 and 6:15pm
If you've ever been remotely transfixed
by a 4am rerun of Bob Ross' The Joy of Painting, and non-ironically
considered that the representation of art-in-action (even that of the
most hackneyed wet-on-wet American landscapes possible) has perhaps
more to express and teach than even the most studious Art Institute
rubbernecking: well, here's like the unforgettably hypnotic highbrow
apotheosis of that. For someone who doesn't have a problem understanding
the homebrewed polygon-interpolating software behind, e.g., Linklater's
WAKING LIFE, figuring out just how director Clouzot pulls this off remains
the real mystery: with a perfectly white "canvas" background,
the camera somehow can watch, in real-time, the result of every stroke
from reverse (i.e. without looking over Picasso's shoulder). When Clouzot's
reels run out, the drawing or painting is "completed." Later,
Picasso says he's feeling a little constrained by this technique, so
we watch some more traditional longer-term compositions in melty time-lapse.
It's legitimately not necessary for the viewer to buy into any concomitant
hagiographic genius mythology (although you gotta sell tickets to a
movie like this somehow), and there are times when you want to shout
"Picasso! No!" as he casually obliterates something awesome;
but any artist of any medium, amateur or professional, will find it
hard to miss the message: looking at paintings in a museum is like watching
the footprints on a theater stage after all the actors have gone home.
(Note: MYSTERY includes a pompous wall-to-wall orchestral soundtrack
that's a lot less cool than it must have been in 1956; BYOiPod) (1956,
75 min, 35mm) MC
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More info at www.siskelfilmcenter.org.
Otto Preminger's WHIRPOOL (American
Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm
It doesn't get much weirder than this, and not because the premise--"Married
to a prominent L.A. psychiatrist, a secret kleptomaniac (Gene Tierney)
[becomes] easy prey for an unscrupulous hypnotist/astrologist/con-man
(Jose Ferrer)," to borrow the Film Center's program notes--is so preposterous.
It's because Otto Preminger approaches the preposterousness with unflagging
moral probity (often utilizing the key gesture of his rich 40s and 50s
work, the fluid tracking shot that encompasses multiple perspectives
in a single take yet manages to negate all of them) and co-writer Ben
Hecht fills it out with so much research about modern psychology. The
premise would suggest an allegory about the conflict between rational
and irrational thought, yet the film grants a surprising amount of credence
to the black-magic villain, who's not only erudite but also more charismatic
than the ostensible hero. Richard Conte, who plays the psychiatrist,
gives the sort of wooden performance that besmirches even some of Preminger's
better movies. The unevenness between his skills as a visual storyteller
and as a director of actors (only compensated for, really, by pounding
a misshaped performance into the jigsaw construction of the mise-en-scene)
may explain why more people don't consider Preminger a major filmmaker. But
viewers who enjoy tracing this director's elusive philosophy--and those
who simply like a good head-scratcher--will find plenty to savor. James
Naremore lectures at the Tuesday screening. (1949, 98 min, archival
35mm) BS
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More info at www.siskelfilmcenter.org.
John Erick Dowdle's DEVIL (New American)
Various Venues - Check Reader Movies for theaters and showtimes
Conceived as something like a PG-13 episode of Alfred Hitchcock
Presents, this quickie belongs to a now-rare breed of simple but
never pandering American entertainment that flourished in the mid-20th
century and has been steadily disappearing since. A few consummate pros
(producer M. Night Shyamalan, cinematographer Tak Fujimoto) and a lot
of talented unknowns (most of the cast, composer Fernando Velázquez)
come together for an 80-minute horror film set mostly in an elevator
and an office building's control room. Like Shyamalan's own THE HAPPENING,
this is an extended tribute to pre-1970s American horror and science
fiction, set in the producer's favorite city (an overcast Philadelphia)
and colored by his secular applications of Christian morality and Catholic
fear. (It should be noted that, while the allegorical Christian overtones
of his films are fairly blatant, Shyamalan was raised Hindu and appears
to have remained so into adulthood). An effective horror film and police
procedural, DEVIL's first half would make a surprisingly good double-bill
with any of the films in the Music Box's current Jacques Tourneur matinee
series. Its final scene, however, would work best with Tourneur's STARS
IN MY CROWN. (2010, 80 min, 35mm) IV
Chicago Architecture in Motion (Documentary/Experimental)
Chicago Filmmakers - Saturday, 8pm
Chicago Filmmakers has assembled an
impressive and diverse program centering on aspects of Chicago architecture.
Clara Alcott's INLAND STEEL STUDY and Chi-Jang Yin's GLASS HOUSE (both
2007) are quiet, lyrical explorations of two very different constructions:
the famed 1950s Inland Steel building and architect Thomas Roszak's
self-designed home. Alcott shoots the Inland Steel building from a variety
of angles, near and far, both giving it a sense of weighty volume and
totally flattening it; presenting it as a hard-edged object and finding
abstraction in its form. Yin contrasts Roszak's house as an example
of minimalist design with its function as an intimate domestic space--competing
forces that find unification in Yin's careful and stately cinematography.
Also showing are two older works, most notably Conrad O. Nelson's brilliant
1934 experimental documentary HALSTED STREET. A member of the Film and
Photo League, Nelson uses the gimmick of following a man late for a
meeting hurriedly making his way up the length of the titular route.
But this is an excuse to show the diversity of the Chicago neighborhoods
through which the man passes. Nelson's film has a stunning kinetic quality,
a propulsive energy that makes this a singular and crucial example of
early American avant-garde cinema. Local filmmaker Jack Behrend's 1960s
film EQUITABLE BUILDING: TIME LAPSE is also an example of kineticism.
Here, though, it is the time-lapse photography of the construction of
the Equitable Building that provides the energy. It is the subject that
"moves"--creating a fascinating work about process. Adele Friedman
has been making stunning "portrait" films for several decades now
and TREE STUDIOS (1989) is one of her finest. Her characteristic "searching" camerawork and frequent use of peculiar angles and vantage points constantly
centers and then disorients the viewer, making strange even the most
commonplace subjects. Also showing are the 1985 documentary CHICAGO'S
MODERN ARCHITECTURE and Beverly Willis' 2009 documentary GIRL IS A FELLOW
HERE: 100 WOMEN ARCHITECTS IN THE STUDIO OF FRANK LLOYD WRIGHT. (1934-2009,
116 min total, 16mm and video) PF
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More info at www.chicagofilmmakers.org.
Stanley Kubrick's KILLER'S KISS (American Revival)
Doc Films (University of Chicago) - Wednesday, 9pm
Stanley Kubrick's arty boxing noir was made on a shoestring budget,
with the director also serving as sole screenwriter, cinematographer,
and editor. On the one hand, this makes it the most "totally controlled"
film of a director who tried to have his hand in every aspect of his
movies; on the other, it's also clearly the work of young man still
trying to figure out what he wanted to do with his life (besides imitate
Max Ophüls, that is). What comes through most strongly, more than on
any of his other films, is Kubrick's background as a magazine photographer.
Though the plot, which finds a down-on-his-luck welterweight trying
to save a girl from a vicious crook, is ripe for pulp and scuzziness
(original tagline: "Her soft mouth was the road to sin-smeared
vengeance!"), Kubrick largely avoids the lurid in favor of a pictorial
distance. Rather than giving the impression that he's lived with the
characters, as someone like Raoul Walsh would, Kubrick treats every
scene like a profile assignment that has tasked him with photographing
some local personality he'll never meet again. While this often makes
the film feel almost disarmingly reserved, it also gives KILLER'S KISS
this weird quality of seeming to start over again with every scene,
and Kubrick gets at a lot of photo-spread style visual details by treating
the characters he's created as total strangers. (1955, 67 min, 35mm)
IV
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More info at www.docfilms.uchicago.edu.
Douglas Sirk's MEET ME AT THE FAIR
(American Revival)
Bank of America Cinema - Saturday, 8 pm
The second of three films Sirk directed about small town America
(made in between HAS ANYBODY SEEN MY GAL [1951] and TAKE ME TO TOWN
[1952]), MEET ME AT THE FAIR--at least the ten-odd minutes this reviewer
was able to glean--does as much as any of his films to express (per
a 1973 interview) "the weak and sly promise that the world is not
rotten and out of joint but meaningful and ultimately in excellent condition." The
first reel of MEET ME AT THE FAIR feels weak and sly in the most reassuring
of ways: Dan Dailey, a medicine man and teller of tall tales at the
turn of the century, befriends an orphaned boy but tells him to keep
quiet so the audience doesn't see him. There's a sense here of something
being hidden away, but Sirk's deep color palette keeps everything else
warm and out in the open. A love triangle and the investigation of a
crooked orphanage are purported to follow. (1952, 87 min, 16mm IB Technicolor
print) JA
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More info at www.bankofamericacinema.blogspot.com.
Neil Marshall's CENTURION (New British)
Landmark's Century Centre Cinema
- Check Venue website for showtimes
Neil Marshall's typically termitic
new movie pits glum and largely interchangeable Roman men against two
infuriatingly independent Pictish women and a lot of grisly gorehound
violence. Michael Fassbender's the ostensible lead, getting to do a
few weird variations on his HUNGER role during the torture scenes, but
it's really all about Olga Kurylenko (one facial expression: dismissive
anger) as the film's equivalent of the "treacherous Indian scout"
and Imogen Poots (a downright lovely face + a surname to make 10-year-olds
titter) as the village witch. The writer/director's usual men vs. women
dynamics (or, more accurately, characters governed by allegiances and
social conventions against characters governed by principles) get a
good workout, and there's almost enough ridiculously-hard-boiled dialogue
and narration to qualify this as a "Roman noir." While Marshall's
last movie, DOOMSDAY, achieved a surprising coherence while trying to
be a different movie in every scene (MAD MAX, a Daniel Craig-era James
Bond, ALIENS, V FOR VENDETTA, EXCALIBUR), CENTURION goes all over the
place while trying to mostly be GLADIATOR (another point of reference
in DOOMSDAY), including some late Studio Era-style establishing shots
which look like matte paintings even though they're not and a few handheld
sequences that wouldn't look out of place in UN LAC. (2010, 97 min,
35mm) IV
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More info here.
Tamra Davis' JEAN-MICHEL BASQUIAT:
THE RADIANT CHILD
(New Documentary)
Block Cinema (Northwestern University)
- Friday, 7pm
Progressing ever northward, from the
Siskel to the Music Box and now Block Cinema, film venues around the
city continue to welcome the incoming Class of 2014 with the art-school
orientation date movie of the year, a pleasant assault of period photo-
and videographic 80s ephemera which re-glamorizes in familiar fashion
the rise and fall of this sufficiently-legendary Brooklyn-brownstone
wunderkind. Set primarily to a selection of ASCAP electro classics (curated
by Ad Rock and Mike D in their sleep) to inform the Little Village loft
parties of the near future, the talking heads on the screen (including
Julian Schnabel, Fab 5 Freddy, Jeffrey Deitch, and others you'd better
know) accompany the Talking Heads on the soundtrack in a valiant effort
to reproduce the grand individualist mythology necessary for the bare
minima of cognitive survival to complete a B.A. in Visual and Critical
Studies. This involves generating the spectator's conviction that not
everyone is genuinely "too fragile for this [art] world",
that one is not quite becoming irrevocably enamored of an unmeasurably
fickle culture industry in which, statistically speaking, economic failure
is all but assured. And (like art itself), against all odds, it works:
Basquiat's paintings (in a restless montage of pans and slow zooms)
look better and better; brilliant turns of phrase--if not fully-formed
ideas--appear in your head; and one gains a legitimate appreciation
for the social productivity and pragmaticism of that insular and transitory
ritual, the "show." Sure, some Friday in a white room, there'll
be such a celebration in your name; Oh, this unworldly and radiant enigma
beside you (eyeing you with suspicion in the theater), they'll give
you a ride home: and perhaps in that abandon only may you or your fellow
classmates truly aspire to die like this man. (2010, 88 min, video)
MC
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More info at www.blockmuseum.northwestern.edu.
MORE SCREENINGS AND EVENTS
Local filmmaker Ben Russell's film
installation TRYPPS #7 (BADLANDS) continues at the Museum of Contemporary Art.
The Conversations at the Edge series at the Gene Siskel Film Center welcomes experimental video/glitch
artist Rosa Menkman on Thursday at 6pm. She will present a selection
of her works and perform a real-time video piece.
Local animator Lilli Carré's 16mm
animation THE JITTERS screens on Saturdays, through October 30,
between 8-10m as part of the Saturday Cinema series. It's rear-projected
in the second floor window at 1369 W. Chicago Avenue: stand out on the
sidewalk to watch.
Also at Block Cinema this week:
Jerry Blumenthal and Gordon Quinn's 2004 documentary GOLUB: THE LAST
WORKS ARE THE CATASTROPHES screens on Thursday at 7pm. Quinn will
be in person.
Also at Doc Films (University
of Chicago) this week: George Cukor's 1933 LITTLE WOMEN is the
7pm show on Thursday; the 9:15pm show is something altogether different:
Herschel G. Lewis' 1970 THE WIZARD OF GORE.
Also at the Music Box this week:
Chan-wook Park's 2003 film OLDBOY and Edgar Wright's SCOTT
PILGRIM VS THE WORLD are the Friday and Saturday midnight films;
MADEMOISELLE CHAMBON and GENIUS WITHING: THE INNER LIFE OF GLENN
GOULD both continue; and a free showing of IF THESE WALLS COULD
TALK, presented by Personal PAC, is on Wednesday at 7pm. Note:
the screening of VALLEY OF THE DOLLS, with Patty Duke in person, originally
scheduled for Friday has been postponed to November 20 due to Ms. Duke's
work schedule.
Also at the Gene Siskel Film Center this week: Serge Bromberg
and Ruxandra Medrea's 2009 documentary HENRI-GEORGES CLOUZOT'S INFERNO plays for a week; Sam Wainwright Douglas' documentary CITIZEN ARCHITECT:
SAM MOCKBEE AND THE SPIRIT OF THE RURAL STUDIO screens Friday and
twice on Sunday; and local filmmaker Keith Dukavicius' 2008 feature
EGON screens Thursday at 8:15, with Dukavicius in person.
Marc Price's 2008 British zombie movie
COLIN plays at Facets Cinémathèque this week.
Mweze Ngangura's 1998 French/Belgian/Congolese
film PIECES OF IDENTITY screens at the DuSable Museum on Sunday at 2pm.
Also at Chicago Filmmakers this week: on Friday at 8pm, students
from CF's own classes show off their efforts at the Chicago Filmmakers'
Student Showcase. |
MURDER PSALM 
