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:: Friday, SEPT. 28 - Thursday, OCT. 4 ::


Three Films by Peter Thompson (Contemporary Experimental Revival)
Colombia College (Film Row Cinema, 1104 S. Wabash Ave., 8th Floor) - Thursday, 6pm
LOWLANDS, the most recent (2009) film by local filmmaker Peter Thompson screens this week at Columbia College, where Thompson is on faculty in the Photography Department. It screens with two early films of Thompson's. LOWLANDS is a curiosity that has more of a European sensibility than something from the U.S. (hints of Godard, Greenaway, de Oliviera), but continuing Thompson's engaged curiosity and examination of his earlier works, LOWLANDS is an experimental essay on the life and circumstances of revered Delft painter Johannes Vermeer and his wife, Catharina Bolnes. Thompson constructs his film through a radical juxtaposition of paintings, etchings, recreations, contemporary footage of the Netherlands, found footage, narration, war crimes testimony relating to the Bosnian war, and an extended, highly theatrical and stylized "dream" sequence of Vermeer's then-widow. It shouldn't work, but it does. Thompson uses Vermeer and his wife as focal points from which he can depart and return to, allowing him to contemplate issues of representation, poverty, war, family. It's a suturing across centuries that is strangely even more relevant now than when it was in production. Also showing are Thompson's stunning 1986 shorts, UNIVERSAL CITIZEN and UNIVERSAL HOTEL, the later of which investigates the possible meaning of photographs and drawings documenting experiments on prisoners at Dachau in 1942. Thompson in person; Introductions by Jonathan Rosenbaum and Columbia College Film Department Chair Bruce Sheridan. (1986-2009, approx. 94 min total, Blu-ray and DVD Projection) PF

Tragicomedy in the Media Lab: Video Work by Bryan Boyce (Experimental) 
The Nightingale (1084 N. Milwaukee Ave.) - Wednesday, 7pm 
All the animals come out at night: laser-eyed George W. Teletubbie Sun, Big Baby Gingrich, foul-mouth news anchors, and Skeletor Dick Cheney all conjured by San Francisco-based Bryan Boyce. The expert image-tweaker and avant-prankster brings more than two-dozen of his short videos to the Nightingale. They range from the seventeen second MARTHA AND BOB (1998), in which the eponymous Stewart and Tilton mug for the camera (one YouTube commenter offers as critique: "Your creativity here is interesting but I don't believe in making fun of people and I think it's good to remember that everything we send out will return to us.") to WORLD'S FAIR WORLD (2003), a longer, more in-depth dissection of ideology, spectacle, and history in form of an "eviscerated" 1939 Westinghouse-sponsored movie about the New York World Fair. His WALT DISNEY'S "TAXI DRIVER" (2011) has screened widely over the last year. It's an excellent piece—devastatingly funny, expertly timed and technically impressive—filled with surprises. For those unfamiliar with his more overtly political work (and his early work—the program stretches back all the way to 1992), this is an excellent opportunity to see the breadth and depth of Boyce's interventions. Not only will the artist be in attendance, but he's bringing a brand new work, MITT ROMNEY: THE EXCLUSIVE CHICK'NTERVIEW (2012). (1992-2012, approx. 90 min total, HD Digital File Projection) JM
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Howard Hawks' GENTLEMEN PREFER BLONDES (American Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm
The Film Center's American Cinema of the 1950s series moves forward this week with Howard Hawks' glitzy sing-along of consumerism on tour, headlined by the hottest of commodities, Jane Russell and Marilyn Monroe. GENTLEMEN PREFER BLONDES is, of course, far most interested in what these ladies prefer—which may be love or may be diamonds, depending on whom you ask—as opposed to the gents, here occupying a grand range of caricatures from buffoonish millionaires to meddling private investigators to rigidly-disciplined muscle men. Russell and Monroe are Dorothy Shaw and Lorelei Lee, two showgirls fresh out of Little Rock and adrift on an Olympian-infested ocean liner bound for Paris. Both women give career defining performances here, with Monroe playing up American extravagances to hyperbolic heights, and Russell as the lovelorn straight woman, a term infused with entirely new meaning during the great "Ain't There Anyone Here For Love" number. Here's a film that is an equal-opportunity objectifier, a carefree capitalist musical as essential for piecing together American identity in the 1950s as any film by Nicholas Ray or Douglas Sirk, making this old favorite prime for a revisit as part of this ongoing series. Critic and artist Fred Camper lectures at the Tuesday screening. (1953, 91 min, 35mm) TJ
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Bernardo Bertolucci's BEFORE THE REVOLUTION (Italian Revival)  
Block Cinema (Northwestern University) — Friday, 7pm  
Bernardo Bertolucci's second feature is a time capsule of what hip, ambitious filmmaking was expected to look like in the post-New Wave era: emotionally and politically committed, tonally disjointed, with lots of hidden-camera crowd scenes and dramatic close-ups that crop off the tops of actor's heads. Bertolucci was only 22 when he directed the film, and it certainly shows in the movie's self-serious plot (a take-off of The Charterhouse of Parma with a brooding Bertolucci stand-in worrying about his commitment to Communism) and dialogue. Still, it'd be a mistake to write the film off as juvenilia; in its own earnest and unselfconscious way, it represents the clearest expression of the director's central theme—the intersection of the private erotic and the public political—and the young Bertolucci's willingness to experiment with and even break form—playing with editing, camera movements, and framing—is bold and ballsy. Not a perfect film, but one that everyone should see. (1964, 115 min, Imported 35mm Print) IV 
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Robert Bresson's PICKPOCKET (French Revival)
Doc Films (University of Chicago) - Monday, 7pm
PICKPOCKET, a brief, existentialist date movie (filmed in the same Parisian Summer of 1959 as BREATHLESS) is—with its emphasis on glances, gestures, cafés, and other material ephemera—certainly a cinephiliac classic. Constrained by a truly minimal plot (with familiar elements from both Camus and Dostoyevsky), Bresson produces an extraordinary quality of dreamlike estrangement via deliberately awkward stage direction (to the usual assortment of unfamiliar non-actors); shots of doors and other passageways that linger just a little too long before and after the characters' entrance and exit; and (especially) an obsessive attention to sound design which heightens the impact of every slight movement, above a perpetually noisy background of urban clatter. The result is a laid-back erotic thriller (ironically set to the aristocratic Baroque compositions of Jean-Baptiste Lully) that sees everyday life under capitalism—for a movie director, or anyone else—as a sequence of audacious, small-scale robberies whose aggregate karmic debt must ultimately be repaid in appalling tragedy. The "erotic" aspect is, of course, derived from the pickpocket's perpetual state of being: an intimate touching, with or without explicit recognition—like two arms resting by each other in a movie theater. (1959, 75 min, 35mm) MC
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Park Woo-Sang & Y.K. Kim's MIAMI CONNECTION (American Revival) 
Music Box - Friday and Saturday, Midnight 
Recently unearthed by film archaeologists, this relic from the mysterious civilization known as "the 1980s"—a culture known to have achieved high levels of cheesiness and shitty filmmaking before abruptly vanishing from the face of the Earth—is believed to have been held sacred by the followers of Florida-based tae kwon do instructor/motivational speaker Y.K. Kim. This weekend, it will make its second appearance in Chicago as part of a traveling exhibit at the Music Box Museum of Natural History, where visitors can marvel at the artifact's corny/awesome music , inept acting, ham-fisted anti-drug message, and unconvincing fight scenes. Video-anthropological studies collective Everything is Terrible! will be on hand to deliver an introductory lecture. (1987, 110 min, Probable 35mm) IV
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Alexei Popogrebsky's HOW I ENDED THIS SUMMER (New Russian) 
Gene Siskel Film Center - Friday, 8pm and Saturday, 3pm 
 Working in a weather research station on a remote island in the Russian Arctic, Pasha is a young kid, jumping around to music and playing video games as he verifies a computer program that might someday replace Sergei, the lonely, rugged researcher he works with. When Sergei leaves to catch trout, Pasha intercepts a radiogram bearing terrible news for Sergei. The right time to pass the news along never comes up and we spend much of the film watching Pasha dodge Sergei from room to room, shirking his responsibility and inventing ways to prevent Sergei from speaking with his superiors on the mainland, all in the hopes that a transport vessel will come soon and take the hot-tempered Sergei off Pasha's hands. HOW I ENDED THE SUMMER is a fairly straightforward and somewhat unimaginative film tempered by its pacing, which, like the trout swimming in the arctic lagoon, has slowed to a near crawl in the cold. Even glaciers move however, and when this film finally picks up in the third act, things move swiftly and dangerously along. Keep this in mind fellow travelers: when you leave base camp, always bring your rifle. (2010, 130 min, 35mm) DM
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Steven Spielberg's JAWS (American Revival) 
Landmark's Century Centre Cinema - Friday and Saturday, Midnight
If PYSCHO forever changed bathroom behavior, then JAWS no doubt gave us pause before diving head first into the ocean; but like the best horror movies, the film's staying power comes not from it's superficial subject matter, in this case a mammoth, man-eating shark and the ominous abyss of the deep blue sea, but from the polysemic potential and wealth of latent meanings that these enduring symbols possess. JAWS marks a watershed moment in cinema culture for a variety of reasons, not excluding the way it singlehandedly altered the Hollywood business model by becoming the then highest grossing film of all time. A byproduct of such attention has been the sustained output of scholarly criticism over the years. At the time of its release, JAWS was interpreted as a thinly veiled metaphor for the Watergate scandal (an event that was slightly more conspicuous in the book), but since then a variety of readings have emerged, including socioeconomic and feminist analyses; however, Marxist theorist Fredric Jameson may provide the most intriguing interpretation by connecting the shark to the tradition of scapegoating. Like Moby Dick or Hitchcock's titular birds, the shark functions a sacrificial animal onto which we project our own social or historical anxieties (e.g., bioterrorism, AIDS, Mitt Romney). It allows us to rationalize evil and then fool ourselves into thinking we've vanquished it. But by turning man-made problems into natural ones we forget that human nature itself is corrupt, exemplified here by Mayor Vaughn who places the entire population of Amity Island in peril by denying the existence of the shark. Jameson's reading is in keeping with the way in which Spielberg rarely displays the shark itself (the result of constant mechanical malfunctions); as opposed to terrifying close-ups, we get point of view shots that create an abstract feeling of fear, thus evoking an applicable horror film trope: the idea is much more frightening than the image. JAWS is a timeless cautionary tale because it appeals to the deep-rooted fears of any generation. And because sharks are scary. (1975, 124 min, Unconfirmed Format) HS
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Patrick Wang's IN THE FAMILY (New American)
Facets Cinémathèque - Saturday, 1pm
With its epic three hour runtime, its no-name creator displaying Wellesian hubris as writer-producer-director-lead actor in his feature debut, and its chimeric blend of languid art house camera technique with rigorously concise stage caliber dialogue, who knows exactly why Patrick Wang's first feature was passed over by 30 major film festivals before he settled for self-distribution. Do not make the same mistake as the professionals; this is one of the most exciting and thoughtful American indies to emerge in recent years. Wang spins an ambitiously original tale of a gay Asian man in Tennessee who suffers the sudden death of his Caucasian partner, and then must battle the partner's relatives for custody of their son. The ripe-for-melodrama scenario defies expectations at several critical stages, eschewing rote exposition for long take interior scenes that pick up nuances in the spatial relations between characters, continually placing its minority protagonist on the margins of the frame or facing away from the camera, as if he were on the verge of being squeezed from his own story. Wang's signal-jamming performance combines facial inexpressiveness with a boisterous folksy drawl, an affectation ripe to be judged, as it is by those around him. Very few films have simultaneously explored race and sexuality conflicts with such nuance—setting them in motion without succumbing to moralistic conclusions—topped by a lengthy, heartfelt climax that gives a brilliant new twist on the old courtroom battle motif. A shining example of filmmaking for our times: what the new American cinema can and should be. (2011, 169 min, Unconfirmed Format) KBL
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Corinna Belz's GERHARD RICHTER PAINTING (New Documentary) 
Block Cinema (Northwestern University) - Saturday, 2pm
GERHARD RICHTER PAINTING, directed by Corinna Belz, is a rare opportunity to witness the methodology of arguably the most prominent working painter today. The film has a languid pace that respects Richter's meditative process, which seems at once random and exact. His newer abstract paintings are created by continually applying coats of paint to the canvas and using an oversized squeegee to smudge and scrape away at the surface to reveal the layers beneath. Richter treats his paintings as autonomous organisms that evolve independently, and it's intriguing to view the pieces at the different stages of their development. Though Belz refrains from psychoanalyzing her subject, the film does give us some glimpse into Richter's past, including his estrangement from his parents in East Germany. He is known for being elusive and taciturn, and there are moments when it's clear that Richter is perturbed by the camera's presence. This touches on the irony of making a documentary about an artist whose work asks essential theoretical questions about photography, and by extension cinema. Richter's photo-paintings comment on the fallibility of the photographic medium, specifically its inability to accurately convey a scene or an event. In keeping with Susan Sontag's writings on the subject, Richter is expressly concerned with the forces that exist outside the frame. At the same time, it's precisely photography's verisimilitude that makes it so perilous, thus Richter's (literal) blurring of the image. This idea is illustrated to an almost absurd degree by Richter's grey paintings, which instead of resembling a poorly developed photo become entirely "overexposed." Richter's reticence throughout the film reflects a similar apprehension with the camera, a concern with the permanence of his own portrait. Richter himself did produce one film, titled VOLKER BRADKE (1966) — unsurprisingly, it is out of focus. (2011, 97 min, Video Projection - Unconfirmed Format) HS
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BOLT Project Space at Chicago Artist's Coalition (217 N. Carpenter St.) presents Slider, a new solo exhibition by Melika Bass that "presents a multi-channel video installation exploring the nocturnal cinematic landscape. Car windows act as screens and the sky as projected film in this psychological portrait of urban memory." It opens Friday (Opening Reception 6-9pm) and runs through October 2. More info at

Document (845 W. Washington Blvd., #3F) presents In Circulation, an exhibition of work by Eric Fleischauer. The show runs through October 13. Riffing on Gene Youngblood's classic book Expanded Cinema, "the exhibition features a video installation, a series of animated gif's, and custom screensavers. Together, the three works in the exhibition explore the malleability of the moving image, shifting modes of viewership, and the ways in which digitization has changed the dissemination, legibility, and reception of media." More info at

Local artist Brittany Pyle's site-specific installation Night Witch continues at The Mission (1431 W. Chicago Ave.) through October 27. From the press release: "Influenced by 1970s-1980s horror cinema, Pyle is interested in the mise-en-scéne of a bedroom or living room just before terror strikes.  In contrast to a horror film, however, the viewers of Pyle's installation are no longer restricted to acting as a detached, third party observer.  Conversely, the viewer is now immediately implicated in the participation, experiencing the scene just as the intruder does." More info at

On view daily through November 25 at the Art Institute of Chicago as part of the Film and Photo in New York exhibition are several films showing in Gallery 4. Included are Paul Strand's MANHATTA (1921), Louis Faurer's TIME CAPSULE (1960s), Weegee's WEEGEE'S NEW YORK (1948), Helen Levitt's IN THE STREET (1952), Morris Engel's LITTLE FUGITIVE (1953), and Robert Frank's PULL MY DAISY (1959). Check for the screening schedule.

The Faculty Projects exhibition at SAIC's Sullivan Galleries (33 S. State St.) includes work by animator Chris Sullivan (drawings, video excerpts from his feature CONSUMING SPIRITS, and his new film THE ORBIT OF MINOR SATELLITES). The show is on view through October 6. More info here.  



Northwest Chicago Film Society (at Cinema Borealis, 1550 N. Milwaukee Ave., 4th Floor) screens David Butler's bizarre 1930 film JUST IMAGINE (109 min, 35mm) on Sunday at 6 and 8:30pm.

The Northwest Chicago Film Society (at the Portage Theater) screens Henry King's 1940 film CHAD HANNA (86 min, 16mm IB Technicolor Print) on Wednesday at 7:30pm. Also showing is Jonas Mekas' 1966 experimental fllm NOTES ON THE CIRCUS (12 min, 16mm).

White Light Cinema (at The Nightingale, 1084 N. Milwaukee Ave.) presents German filmmaker Klaus Wyborny's 2010 film STUDIES FOR THE DECAY OF THE WEST (80 min, DVD Projection) on Sunday at 7:30pm. Filmmaker and SAIC Professor Dan Eisenberg will introduce the screening.

South Side Projections presents Reel Jazz at the Hyde Park Jazz Festival on Saturday at the Logan Center Screening Room (915 E. 60th St.). The three brief programs break down as follows: Program 1 (1:15-1:45pm) includes BOOGIE WOOGIE DREAM (1944, 13 min), featuring Lena Horne and Teddy Wilson; MINNIE THE MOOCHER (1932, 8 min), a Dave Fleischer cartoon featuring Cab Calloway and Betty Boop; AIN'T MISBEHAVIN' (1941, 3 min), featuring Fats Waller; and "The Jumpin' Jive" number excerpted from STORMY WEATHER (1943, 10 min), featuring Cab Calloway and the Nicholas Brothers. Program 2 (2:15-2:45pm) includes SYMPHONY IN BLACK (1935, 9 min), featuring Duke Ellington and Billie Holiday; CUT (1970s, 11 min), a Northwestern student film featuring Billy Brimfield and Fred Anderson; and Gjon Mili's excellent JAMMIN' THE BLUES (1944, 10 min), featuring Lester Young and Illinois Jacquet. Program 3 (3:15-4:15pm) includes The Sound of Jazz (1957, 60 min), an episode of the CBS television series Seven Lively Arts, which features performances by, Lester Young, Count Basie, Pee Wee Russell, Billie Holiday, Coleman Hawkins, Red Allen, Thelonious Monk, and more. All 16mm.

Chicago Filmmakers (at the Adler Planetarium) presents Stardust: Films of the Hidden Universe on Friday at 7:30pm. The program of experimental works includes Jeanne Liotta's gorgeous 2007 film OBSERVANDO EL CIELO and four works by the British duo Semiconductor: 20HZ (2011), HELIOCENTRIC (2010), BLACK RAIN (2009), and BRILLIANT NOISE (2009). Approx. 48 min total; Blu-ray and Digital File Projection. The program will include a guest speaker from the Adler. Co-presented by Video Data Bank.

Conversations at the Edge (at the Gene Siskel Film Center) presents Hito Steyerl: Lovely Andrea & In Free Fall (63 min total, Various Formats) on Thursday at 6pm. Steyerl in person.

The Experimental Sound Studio (5925 N. Ravenswood) presents Outer Ear: ARP Showcase, which features new sound, music, recording, and video works by ESS's Artist Residency Program, on Friday at 8pm. Included is Lori Felker's new video IT DOESN'T MATTER. The program also includes work by Cauleen Smith, Michael Zerang & Spires That in the Sunset Rise, and Leah Beeferman.

The New Visions Film Festival takes place at the Sherwood Community Music School (1312 S. Michigan Ave.) on Friday at 6:30pm. Screening are short films from Columbia College filmmakers Alex Bohs, the Columbia College Animation Production Studio, Hannah Dallman, Andrew Dena, Mary Horan, Brian Lange, Mary Novak, and Kyle Otto. Co-Presented by The Prairie District Neighborhood Alliance in association with Columbia College Chicago Departments of Film and Music. Unconfirmed Running Time and Formats.

 Intuit: The Center for Intuitive and Outsider Art (756 N. Milwaukee Ave.) screens Joe Losurdo and Christina Tillman's 2007 documentary YOU WEREN'T THERE - A HISTORY OF CHICAGO PUNK 1977-1984 (120 min, Video Projection - Unconfirmed Format) on Thursday at 6pm.

Also at the Gene Siskel Film Center this week: Steve James' 2012 documentary HEAD GAMES (96 min, HDCam Video) plays for a week, with James in person at the Friday 8pm and Sunday 5:15pm screenings; Florin Serban's 2010 Romanian film IF I WANT TO WHISTLE, I WHISTLE (94 min, 35mm) screens on Saturday at 5:30pm and Wednesday at 6pm; Eva Soltes's 2011 documentary LOU HARRISON: A WORLD OF MUSIC (92 min, HDCam Video) screens on Saturday at 8pm and Monday at 6pm, with Soltes in person at both shows; Ömer Faruk Sorak's 2011 Turkish film LOVE LIKE COINCIDENCES (118 min, HDCam Video) is on Sunday at 3pm and Wednesday at 8pm; Rasit Çelikezer's 2011 Turkish film CAN (106 min, HDCam Video) is on Sunday at 5:15pm and Monday at 8:15pm; and Filippos Tsitos' 2011 Greek film UNFAIR WORLD (107 min, DigiBeta Video) is on Thursday at 8:15pm.

Also at Doc Films (University of Chicago) this week: John Waters' 1972 camp classic PINK FLAMINGOS (97 min, 35mm) screens on Tuesday at 7pm; John Carpenter's first feature DARK STAR (1974, 83 min, 35mm) is on Wednesday at 7 and 9pm; Robert Wise's sci-fi classic THE DAY THE EARTH STOOD STILL (1951, 92 min, 35mm) screens on Thursday at 7pm; and Robert Clouse's 1973 Bruce Lee film ENTER THE DRAGON (98 min, 35mm) is on Thursday at 9pm.

Also at the Music Box this week: David France's 2012 documentary HOW TO SURVIVE A PLAGUE (120 min, Unconfirmed Format) and Mike Birbiglia and Seth Barrish's 2012 film SLEEPWALK WITH ME (90 min, Unconfirmed Format) both continue; Lisa Immordino Vreeland, Bent-Jorgan Perlmutt, and Frédéric Tcheng's 2011 documentary DIANA VREELAND: THE EYE HAS TO TRAVEL (86 min, Unconfirmed Format) opens; LCD SOUNDSYSTEM: THE FINAL CONCERT (Unconfirmed Running Time - approx. 4 hours, Video Projection - Unconfirmed Format) screens on Tuesday at 7:30pm; Jack Conway's 1932 film RED-HEADED WOMAN (79 min, 35mm) is on Saturday and Sunday at 11:30am; and the other Midnight films are Tomasz Thomson's 2010 German film SNOWMAN'S LAND (95 min, Blu-ray Projection) on Friday; and the "touring film festival of erotic bicycle movies" Bike Smut: Turning TriXXX (Unconfirmed Running Time, Unconfirmed Format) on Saturday.

Also at Block Cinema (Northwestern University) this week: "Audre Lorde's Cultural Legacy" is a two-day program featuring a book reading on Wednesday at 4pm and the following documentaries: HOPE IN MY HEART: THE MAY AYIM STORY (Marie Binder, 1997, 29 min) and AUDRE LORDE: THE BERLIN YEARS 1984-1992 (Dagmar Schultz, 2012, 79 min) on Wednesday at 6pm, with director Dagmar Schultz in person, introduced by Michelle Wright, Associate Professor of African American Studies, Northwestern University; A LITANY FOR SURVIVAL: THE LIFE AND WORK OF AUDRE LORDE (Ada Gay Griffin and Michele Parkerson, 1995, 90 min) and THE EDGE OF EACH OTHER'S BATTLES: THE VISION OF AUDRE LORDE (Jennifer Abod, 2002, 59 min) on Thursday at 6pm. All Video Projection - Unconfirmed Format.

 Also at Facets Cinémathèque this week: Bobby Sheehan's 2012 documentary DOCTORED (100 min, Unconfirmed Format) plays for a week; and the Facets Night School series returns on Saturday at Midnight with Metin Erksan's 1974 Turkish THE EXORCIST rip-off, SEYTAN (101 min, Video Projection - Unconfirmed Format). Lew Ojeda will introduce the screening.

The Whistler (2421 N. Milwaukee Ave.) presents Odd Obsession Foreign Film Series w/ Impala Sound Champion DJs on Saturday at 7pm. The film selection has not been listed as of press time.

Also at the Portage Theater this week: Spook Show Entertainment presents the Chicago Horror Film Festival on Friday, Saturday, and Sunday. More info at; on Thursday at 7pm, Kevin Dunn's 2012 documentary CM PUNK: BEST IN THE WORLD (Unconfirmed Running Time, Video Projection - Unconfirmed Format) screens.

The Chicago Cultural Center concludes Cinema/Chicago's International Screenings series with Sebastian Borensztein's 2011 Argentinean film CHINESE TAKE-AWAY (93 min, Video Projection - Unconfirmed Format) on Saturday at 2pm.

The Logan Square International Film Series (at Comfort Station, 2579 N. Milwaukee Ave.) screens Victor Erice's 1973 classic SPIRIT OF THE BEEHIVE (97 min, DVD Projection) on Wednesday at 8pm.

The Italian Cultural Institute (500 N. Michigan Ave., Suite 1450) screens Ferzan Ozpetek's 2010 film LOOSE CANNONS (110 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Reservation recommended: call (312) 822-9545. 

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CINE-LIST: September 28 – October 4, 2012

Patrick Friel

CONTRIBUTORS / Michael Castelle, Tristan Johnson, Kevin B. Lee, Jesse Malmed, Doug McLaren, Harrison Sherrod, Ignatiy Vishnevetsky, Darnell Witt

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