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


Eric Fleischauer and Jason Lazarus' twohundredfiftysixcolors (Experimental)
Conversations at the Edge (at the Gene Siskel Film Center) - Thursday, 6pm

What do Orson Welles and dancing hamsters have in common? Though 'artistic genius' and 'mad rhythm' are also acceptable answers, their obvious connection is one more digital than literal: both are subjects of two of the most famous GIFs of all time—one in which Orson Welles as Charles Foster Kane looks on formidably while clapping and another in which rows of dancing hamsters jam to a melody of squeaky critter voices. Both are also featured in Chicago-based filmmakers Eric Fleischauer and Jason Lazarus' twohundredfiftysixcolors, a film comprised of approximately 3,000 GIFs; its title is the number of colors available in the GIF palette. A wide variety of GIFs are showcased in the film—from cats to 9/11, nothing is sacred in the world of internet irony. The GIFs are arranged by subject matter with no apparent meaning behind the transitions from one subject to the next; also void of any narrative structure or accompanying soundtrack, the film veers from emotionally manipulative tactics to instead present a curated collage of GIFs intended for big-screen consumption. According to various interviews with the filmmakers, they believe that the still-animation process of the GIF is reminiscent of early cinema and that the technological and cultural impacts of the GIF likewise mirror the trajectory of early cinematic progress. The film also reflects on the democratic implications of the GIF, as many of the featured images were given to the filmmakers by friends, colleagues, and online contributors. The crowdsourcing effect represents a new medium in which the work of anonymous creators is continuously transformed into something that is meaningful based on its particular appropriation. A recent article in the Chicago Reader reports that the filmmakers originally intended to record the film on 16mm and instead used videotape when their original idea proved to be too costly, though a 16mm transfer is still in the works. Even with its digital format, the progression from computer screen to big screen reflects an ever-changing dynamic between cinema as it was once known and cinema as it will be. And if you don't like it, well—haters just gonna have to hate. Fleischauer and Lazarus in person. (2013, 97 min, Digital Projection) KK
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Aram Avakian and Bert Stern's JAZZ ON A SUMMER'S DAY (Documentary/Concert Film Revival)
Gene Siskel Film Center - Check Venue website for showtimes

Her lips are the reddest red this side of THE RED SHOES; and her teeth, dazzlingly white. Filmed in action at the Newport Jazz Festival, Anita O'Day belts out "Sweet Georgia Brown" and the shot holds on her face for nearly the entire song. How mesmerizing it is just to witness the physical manifestation of her impeccable diction. She seems to bite the end off each syllable. The meaning of the lyrics, even the lyrics themselves, gradually dissolves. This shot, one of the greatest in the history of musical cinema, is the very embodiment of the label "documentary." We're given a privileged vantage point from which to study a musician at work. And it's not the only one either: legends such as Louis Armstrong, Dinah Washington, Chuck Berry, Thelonious Monk, Gerry Mulligan, and George Shearing also appear. A nighttime performance by Mahalia Jackson provides a lovely ending. This was Stern's only foray into feature filmmaking, and what an achievement it is. (1960, 85 min, 35mm) RC
More info at

Music Box Theatre - Saturday and Sunday, 11:30am

It's been fifty years since Parker Tyler took to the pages of Film Culture to dissect, praise, and rebuke "Orson Welles and the Big Experimental Film Cult." Tyler's basic premise—that Welles's popularity rested upon cinephiles' willingness to take any piece of the filmmaker's output and read it as an allegory of Welles's artistic and financial struggles—has become commonplace, so much so that we barely recognize it as a critical edifice in the first place. Every Welles film gets measured by how much or how little of his conception reached the screen—and not a few (TOUCH OF EVIL, OTHELLO, MACBETH, MR. ARKADIN) have been posthumously amended to better reflect Welles's so-called original intent. (There's a world of difference, of course, between UCLA's restoration of MACBETH and Beatrice Welles's unmentionable desecration of the OTHELLO soundtrack, but they're united in their belief that an Unexpurgated Orson lies somewhere in the archival shadows). For the severity and scope of its studio-mandated cuts, THE MAGNIFICENT AMBERSONS occupies a privileged seat in the halls of battered Wellesiana. (This despite the fact that, as the critic David Ehrenstein has pointed out, substantial portions of the film's richly 'Wellesian' narration actually come verbatim from Booth Tarkington's Pulitzer Prize-winning source material.) The achievement of the AMBERSONS film is undeniable—it is altogether subtler and suppler than CITIZEN KANE, an exquisitely modulated film that accumulates stylistic and emotional coherence with each viewing. (KANE, on the other hand, possesses a kaleidoscopic energy, a nervous virtuosity that masks helplessness and insecurity.) I've read several accounts of the making of AMBERSONS and just as many speculative theories about the existence of a complete print in Brazil. (Could any other film earn a lengthy investigative spread in Vanity Fair and a TV-movie corrective sixty years after its release?) Welles scholars spend pages sorting out the scenes shot by Welles and those overseen by an RKO hack, but I must confess that the interpolations have never much bothered me, or impeded the power of the movie. Leave the Welles Cult aside for a moment. With its nostalgic intensity, its melancholy longing for a vanished society, its painful recognition of the frailty of order, THE MAGNIFICENT AMBERSONS is its own Magnificent Ruin, a stillborn fragment that could hardly be otherwise. No less than England's neo-classical obsession with Greco-Roman detritus in the early nineteenth century, THE MAGNIFICENT AMBERSONS stands as America's early twenty-first century fount of implacable myth. (1942, 88 min, 35mm) KAW
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Lourdes Portillo's EL DIABLO NUNCA DUERME [THE DEVIL NEVER SLEEPS] (Mexican Revival)
Columbia College Chicago - Film Row Cinema (1104 S. Wabash, 8th Floor) - Thursday, 7:30pm

Hot off a retrospective at MOMA, award-winning avant-garde filmmaker Lourdes Portillo will be coming to Columbia College for a series of events presented by the school's Television Department beginning this Thursday.  Portillo has been exploring Chicana and Latina identity in documentary, narrative, and experimental films since the late 70s. EL DIABLO NUNCA DUERME (the first of two Portillo films which Columbia will be screening; see next week's list for the second) is a combination of the three, an investigation into the mysterious death of her beloved uncle that oscillates between essay-doc and dramatic telenovela-style reenactments, allowing humor and absurdity to flourish in the midst of tragedy. According to Women Make Movies, EL DIABLO "mines the complicated intersections of analysis and autobiography, evidence and hypothesis, even melodrama and police procedure." Portillo in person. (1994, 82 min, Unconfirmed Format) ML
Portillo will also be presenting a talk at Columbia College's TV Department Studio A (600 S. Michigan, 15th Floor) on Thursday at Noon as part of the department's TVAS Box Lunch series.



.blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH. (Experimental)
The Nightingale (1084 N. Milwaukee Ave.) - Friday, 8pm

A primary interest of local art curator, writer, and historian Amelia Ishmael is black metal music and the various connections it has, direct and indirect, with other cultural production. This program focuses on some of the indirect connections, and on direct manifestations of black metal rather than its influence. More specifically, as the program title hints at (static, fuzz, glitch), the works have also been selected for their visual textural qualities. A number of dichotomies are set up between and within the films and videos: analog vs. digital; white vs. black; silence vs. sound; natural vs. artificial. The curatorial framework is strong, even if a few of the pieces are not. The majority of the program is solid, however. Aldo Tambellini's two films BLACK IS and BLACK TRIP (both 1965) are part of a stunning larger cycle of films that explore notions of "blackness" is multiple ways. These two films manipulate the film itself in a raw and forceful manner. Local filmmaker Alexander Stewart's 2005 film ERRATA (the only color work in the show) also has a powerfully tactile quality: Stewart constructed the film from over 4000 abstract photocopied images. An excerpt of WHITE GOD, a no-longer-supported online project by Gast Bouschet and Nadine Hilbert (in collaboration with Xavier Massaut) from 2002 forces one to try to find meaning in a jumble of constantly changing and degenerating actual text and garbage "text." A live performance documentation, ALUK TODOLO LIVE AT CAVE 12 IN ECURIES DE L'ILOT 12 GENEVA 12.05.2010 [I], recorded and uploaded to the internet by mojo, a rabid fan of Todolo's, captures the barely visible artist in a murky blackness, illuminated only by a single low-hanging light bulb; the inky surroundings complimenting the darkness of the music. The two works that don't hold their own against the rest of the show are straight-up music videos, which rely on easy and clichéd tropes. Also showing are two glitch works by local artist jonCates, Semiconductor's BLACK RAIN, a portion of Gast Bouschet and Nadine Hilbert's installation work UNGROUND: PHASE 6, and an unpreviewed video by Sandra Gibson and Luis Recoder, with sound by Olivia Block. (1965-2012, approx. 60+ min total, Various Formats) PF
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Alex Cox's REPO MAN (American Revival) 
Doc Films (University of Chicago) - Thursday, 9:30pm

Before he made Sid Vicious and Nancy Spungen into the punk rock Romeo and Juliet (and incurred Johnny Rotten's lasting wrath in the process), British director Alex Cox directed this cult classic comedy about an LA punk turned car repossessor which Doc Films is showing as part of its (very loosely defined) "Heavy Metal on Film" series. Emilio Estevez is convincingly apathetic as the title character in his first starring role, but it's the other repo men who steal the show (particularly Harry Dean Stanton and Sy Richardson) with their grizzled looks, erratic behavior, and desperation to impart wisdom. The first half of the film has some really authentic moments, some nice surreal touches, and some great music (including a hilarious cameo by The Circle Jerks as the washed up nightclub band). The second half devolves into a more typical everything-but-the-kitchen-sink 80s romp which either is your thing or isn't, complete with the paranormal HAZMAT team from E.T. and dull witted machine gun toting mohawk sporting bad guys in the Bebop and Rocksteady mold. (1984, 92 min, 35mm) ML
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Federico Fellini's 8 1/2 (Italian Revival)
Chicago Cinema Society at the Patio Theater - Saturday, 7pm; Sunday, 2:30pm; Monday, 7:30pm

For many, the greatest film about filmmaking and Federico Fellini's finest hour. 8 1/2 is a work of such grandeur that it demands to be seen on a big screen—if nothing else but for the Chagall-esque final images, a celebration of the "carnival of life" as dreamt by a passionate artist on a massive oceanside set for a film that will never be made. It's also a film that demands to be heard in a theater, as the music of Nino Rota (Fellini's frequent collaborator) is rarely less than ravishing. "Fellini's camera is endlessly delighting. His actors often seem to be dancing rather than simply walking... [and Rota's] music brought a lift and subtle rhythm to their movements," wrote Roger Ebert in his "Great Movies" review, a deft formal analysis of a director often accused of groundless style. But if there's a movie defensible for groundless style, it's 8 1/2, a portrait of a film director's vibrant inner life as a mosaic of memories, dreams, sex fantasies, and ever-surprising images. Marcello Mastroianni, at the height of his star power, managed to make an iconic performance by standing in for Fellini, but the whole cast is ultimately dwarfed by the scope of Fellini's imagination. To again quote Ebert's review: "Few directors make better use of space. One of his favorite techniques is to focus on a moving group in the background and track with them past foreground faces that slide in and out of frame. He also likes to establish a scene with a master shot, which then becomes a closeup when a character stands up into frame to greet us. Another technique is to follow his characters as they walk, photographing them in three-quarter profile, as they turn back toward the camera. And he likes to begin dance sequences with one partner smiling invitingly toward the camera before the other partner joins in the dance. All of these moves are brought together in his characteristic parades. Inspired by a childhood love of the circus, Fellini used parades in all his films—not structured parades but informal ones, people moving together toward a common goal or to the same music, some in the foreground, some farther away... I have seen 8 1/2 over and over again, and my appreciation only deepens. It does what is almost impossible: Fellini is a magician who discusses, reveals, explains and deconstructs his tricks, while still fooling us with them." (1963, 138 min, 35mm) BS
More info at and

John M. Stahl's LEAVE HER TO HEAVEN (American Revival) 
Doc Films (University of Chicago) - Monday, 7pm

"Nothing ever happens to Ellen," says one character. Later, another pronounces: "Ellen always wins." Undoubtedly Ellen is at the very center of LEAVE HER TO HEAVEN, a film that represents the zenith of that rare bird, the "Technicolor noir." But to write off Ellen as merely an archetypal femme fatale is to overlook a more interesting, feminist reading. What if the film is actually a subversive critique of society's repression of women? As brilliantly played by Gene Tierney, after a time Ellen finds herself trapped in a life of hyper-glossy but empty luxury, her occasional horseback riding her only pleasure. By society's rigid strictures all she's allowed to do is tend to the materialistic concerns of her husband's lifestyle, even as he himself is free is earn a living by spinning escapist fiction (undoubtedly consumed by other Ellens caught in their own traps). As she battles to assert herself she uses the scant weapons available to her: murder, blackmail, even a self-induced miscarriage. Naturally, because of the Production Code, she cannot be allowed to stand tall at story's end. But even so, as she stands at the top of the stairs before her fall, we can see in her eyes that she's prepared to die rather than continue her empty existence. The film possesses a subterranean commentary every bit as scathing as a Douglas Sirk melodrama, should one care to look for it. (1945, 119 min, 35mm) RC 
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Howard Hawks' GENTLEMEN PREFER BLONDES (American Revival)
Doc Films (University of Chicago) - Thursday, 7pm

Howard Hawks' glitzy sing-along of consumerism on tour is 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. (1953, 91 min, 35mm) TJ
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Jean Genet's UN CHANT D'AMOUR (French Revival)
Gene Siskel Film Center - Saturday, 7:45pm and Tuesday, 6pm

His only cinematic work, Jean Genet's UN CHANT D'AMOUR incorporates many of the same themes found in his plays and novels. Initially banned due to its homoerotic content, the film takes place in a prison, where a guard spies on the inmates as they perform masturbatory interpretive dances. This power dynamic touches on issues central to cinema studies including voyeurism, the gaze, and the role of the spectator. There's a connection to be made between the prison and the movie theater—both are dark, confining spaces that force their inhabitants into a state of reflection. When the guard brutally beats one of the prisoners, questions are raised about the intimate relationship between sex and violence. Genet contrasts the prison scenes with a pornographic dream sequence in an idyllic forest and abstract images of nude contorted bodies. Though a rather modest film, the influence of UN CHANT D'AMOUR has been far-reaching and can be seen particularly in the work of Todd Haynes. Showing with Arthur Ginsberg's 1975 documentary THE CONTINUING STORY OF CAREL AND FERD (59 min, BetaSP Video). (1950, 26 min, 16mm) HS 
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Ridley Scott's ALIEN (American Revival)
Landmark's Century Centre Cinema - Friday and Saturday, Midnight

The history of horror films in America is basically a history of self-reflexive cultural negotiations regarding the appropriate monstrous representation of sublimated, dead labor (from industrial-era vampires to post-industrial/consumerist zombies, for example). The serial killer, in particular, is a monster born of the late 1970s, a time of increased independence and employment for women, as well as of increased corporate diversification. Emblematic here is Ridley Scott's ALIEN, in which a crew of highly-skilled co-ed journeyman space-laborers for the (presumably monopolistic) "Company" are obliged by their weak contracts into dangerous, unpaid overtime work exploring a nearby crashed spacecraft—resulting in one worker's being literally raped by an articulated organism of unknown origin. Left in a coma, his body immobilized by a unremovable death grip to the face—also known as your cubicle's computer screen—this employee violently gives birth to the titular illegitimate xenomorphic slasher, an outrageous H.R. Giger creation best described as a toothed vagina on a penis inside a toothed vagina on a penis. Its savage hypersexuality is in striking contrast to the celibate and demoralized crew, who in turn discover (as we all someday must) that their employer—mediated by a bureaucratic artificial intelligence system—considers them essentially disposable in the face of true biomechanistic innovation. ALIEN's innovative, languorously developed, and politically relevant narrative structure is also accompanied by simultaneously punishing and dazzling sound-effects work, romanticizing the harsh interstellar environment with a progressively intense and surprisingly passionate lullaby of humming, clicking, whirring, dripping, hissing, and shrieking noises. (1979, 119 min, Digital Projection - Unconfirmed Format) MC



Carrie Secrist Gallery (835 W. Washington Blvd.) continues Circle Spectre Paper Flame, a one-person show of recent work by Michael Robinson, including his 2012 video CIRCLE IN THE SAND, through May 11.

Andrew Rafacz Gallery (835 W. Washington Blvd.) continues Psychosexual through May 25. The show, which includes at least one video work (by former Chicagoan Kirsten Stoltmann).

 Israeli artist Guy Ben-Ner's video Soundtrack is currently on view at Aspect Ratio (119 N Peoria, Unit 3D) through April 26. The gallery has limited hours, check the website for days and times.

 The Museum of Contemporary Photography (Columbia College, 600 S. Michigan Ave.) continues the show Spectator Sports through July 3.

Akram Zaatari's Tomorrow everything will be alright (Experimental Video Installation)
Museum of Contemporary Art - Continuing through May 12
Two ex-lovers send one-line missives to each other in this short work, whereby Zaatari cleverly transforms a typewriter into an analog text message machine. Modern society's usual method of texting back and forth with someone over a cell phone can feel sterile and abstract. You press some colored shapes on a screen, a message is sent into the ether, and, later, your phone buzzes in reply. Zaatari's display, in contrast, is like "watching stiffened insect legs fly up from the oily basket and kick letters onto the page" (to quote Paul Theroux). Seeing red and black ink punching out characters on fibrous paper in extreme closeup gives the teasing back-and-forth conversation a fresh charge. It's also mysteriously, wonderfully expressive; when the machine pauses, to finish a thought or go back to cross out a typo, you sense the mind behind the machine. (2010, 12 min loop, Single-Channel HD Video) RC 
More info here.



Midwestern Gothic: Films by Melika Bass, presented by Northwestern University's Kaplan Institute and RTVF Department, is on Wednesday at 5:15pm at Block Cinema (Northwestern University). Local filmmaker Bass will screen and discuss her films SHOALS (2011, 52 min, HD Projection) and WAKING THINGS (2011, 34 min, HD Projection).

The Logan Center for the Arts (University of Chicago, 915 E. 60th St.) hosts Celebrating 100 Years of Indian Cinema: Retrospective of Films by Adoor Gopalakrishnan and the Symposium "Parallel" to What? - Pasts and Futures of Indian Arts Cinema. Screenings began on Thursday, but continue on Friday with RAT TRAP [ELIPPATHAYAM] (1981, 121 min, 35mm; 10am), introduction by Rochona Majumadar, University of Chicago; THE SERVILLE [VIDHEYAN] (1993, 112 min, 35mm; 2pm), introduction by Suranjan Ganguly, Associate Professor, University of Colorado - Boulder; a 4pm reception; and SHADOW KILL [NIZHAIKKUTHU] (2002, 90 min, 35mm; 5pm), also introduced by Suranjan Ganguly. The symposium is on Saturday from 9am-5pm and includes a Keynote Address by Ashish Rajadhyaksha, Director and Senior Fellow, Center for the Study of Culture and Society, Bangalore, India, titled "Realism without Reform: Other Histories of India's Parallel Cinema." More information at

The Chicago Film Seminar welcomes Susan Ohmer (Notre Dame), who will give the talk "Animation and Cultural Geography: Disney and Standard Oil Remap the U.S.," with a response by Elizabeth Tandy Shermer (Loyola), on Thursday at 6:30pm. This event is at DePaul's Loop Campus in the Daley Building at 14 E. Jackson Blvd., Room LL 102 (use the State St. entrance located at 247 S. State). More info at

Harold Washington Library Center (Cindy Pritzker Auditorium, 400 S. State St.) presents William Friedkin: 'The Friedkin Connection' on Tuesday at 6pm, with Friedkin in discussion on his new memoir and his career with Filmspotting's Adam Kempenaar. Friedkin will also be signing copies of his book, which will be available for purchase.

The Chicago Film Critics Association presents the Chicago Critics Film Festival Friday-Sunday at Muvico Rosemont 18 in Rosemont.  The festival features a slate of new independent narrative and documentary features and two programs of shorts. Of special note is a Sunday 6pm book signing with guest William Friedkin and a 7:30pm screening of his 1977 film SORCERER (121 min, 35mm), followed by a Q&A with Friedkin.

Tritriangle (1550 N. Milwaukee Ave., 3rd Floor) presents p0st[un]b!rthD?y_b?sh on Friday at 9:30pm, which attendees are welcome to "bring_your_own_projector [pre]loaded with [un]birthDay themed art && decorate our walls."

The Northwest Chicago Film Society (at the Portage Theater) screens Rouben Mamoulian's 1931 film CITY STREETS (83 min, 35mm) on Monday at 7:30pm. Also showing is Friz Freleng's 1948 cartoon BUGS BUNNY RIDES AGAIN (7 min, 16mm); and Joseph M. Newman's 1955 science fiction film THIS ISLAND EARTH (87 min, 35mm) on Wednesday at 7:30pm. Also showing is Dave Fleischer's 1935 cartoon DANCING ON THE MOON (7 min, 16mm).

The Film Studies Center (University of Chicago) presents All Roads Lead to Aubervilliers (1945): Eli Lotar and Social Documentary in France, a lecture by U of C professor Steven Ungar which will be preceded by a screening of AUBERVILLIERS (Eli Lotar, 1945, France, DVD, 22 min) on Thursday at 5pm at the Logan Center for the Arts (915 E. 60th St.).

The Chicago International Movies & Music Festival opens on Thursday at Constellation (3111 N. Western Ave.) with a program of films, music and conversation by and between composer and musician Van Dyke Parks and his filmmaker son Richard Parks. More info and a complete schedule at

The Chicago Latino Film Festival continues this week. More info and a full festival schedule at

The New Art Film Festival in Champaign, IL, features Southern Illinois-produced short films on Friday from 4-11:30pm. If you are in the mood for a last-minute road trip, more info can be found at

Also at the Gene Siskel Film Center this week: Philippe Lioret's 2001 film MADEMOISELLE (85 min, 35mm) is on Friday at 6pm and Saturday at 3:15pm; Caroline Bottaro's 2009 film QUEEN TO PLAY (97 min, 35mm) is on Saturday at 5pm and Thursday at 8:15pm; Shannah Laumeister's 2011 documentary BERT STERN: ORIGINAL MAD MAN (89 min, DCP Digital Projection) plays for a week; Roberta Torre's 1997 film TO DIE FOR TANO (75 min, 35mm) is on Sunday at 4:45pm, with Torre in person; and Paul Saltzman's documentary THE LAST WHITE KNIGHT (78 min, HDCam Video) is on Monday at 6:30pm, with Saltzman and educator Prexy Nesbitt in person.

Also at Doc Films (University of Chicago) this week: Mike Nichols' 1967 film THE GRADUATE (106 min, Restored 35mm Print) is on Friday at 7, 9, and 11pm and Sunday at 1pm; Michael Haneke's 2012 film AMOUR (127 min, 35mm) is on Saturday at 7 and 9:15pm and Sunday at 3pm; Agnès Varda's 1955 film LA POINTE-COURTE (86 min, 35mm) is on Sunday at 7pm; Nagisa Oshima's 1971 film THE CEREMONY (123 min, 35mm) is on Tuesday at 7pm; and Werner Herzog's 1972 classic AGUIRRE: THE WRATH OF GOD (93 min, DCP Digital Projection) is on Wednesday at 7 and 9pm.

Also at the Music Box Theatre this week: Shane Carruth's 2013 film UPSTREAM COLOR (96 min, DCP Digital Projection) opens [the Friday 7:30/9:45 double feature with his 2004 film PRIMER, with Carruth in person, is sold out; the 5pm Friday screening of just UPSTREAM, also with Carruth in person, is still available at press time]; Rodney Ascher's 2012 film ROOM 237 (102 min, Unconfirmed Format) continues; Cate Shortland's 2012 drama LORE (109 min, Unconfirmed Format) is in the Saturday and Sunday 11:30am matinee slot; Rob Reiner's 1984 mockumentary THIS IS SPINAL TAP (82 min, 35mm) is on Friday and Saturday at Midnight; Danny Boyle's 1996 film TRAINSPOTTING (94 min, 35mm) is on Friday at Midnight; and a sneak peek of the Sundance Channel show Rectify is on Tuesday at 7pm. Admission to this is free, but an RSVP is required. Details:

Chicago Filmmakers presents M.T. Silva's 2010 documentary ATOMIC MOM (80 min, Video Projection - Unconfirmed Format) on Saturday at 8pm (social hour at 7pm) at Chicago Filmmakers (5243 N. Clark St.) as part of the monthly Dyke Delicious series; and the Best of the Rural Route Film Festival 2012-2013 screens on Wednesday at 7:30pm at Columbia College Chicago's Hokin Hall (623 S. Wabash Ave.).

Facets Cinémathèque screens Eran Creevy's 2013 film WELCOME TO THE PUNCH (100 min, Unconfirmed Format) for a week; and the Saturday Midnight Facets' Night School film is Rene Cardona Jr.'s 1972 horror rarity NIGHT OF A THOUSAND CATS (93 min, 35mm), with an introduction by Dominick Mayer.

Also at the Chicago Cinema Society at the Patio Theater this week: Ernesto Díaz Espinosa's 2012 Chilean film BRING ME THE HEAD OF THE MACHINE GUN WOMAN (75 min, DCP Digital Projection) is on Friday at 10m; and Ngai Choi Lam's 1991 Hong Kong/Japanese horror/sci-fi film RIKI-OH: THE STORY OF RICKY (91 min, 35mm) is on Saturday at 10pm.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Michael Haneke's 2012 film AMOUR (127 min, 35mm) on Saturday at 2 and 7:30pm; and John Frankenheimer's 1962 film THE MANCHURIAN CANDIDATE (126 min, 35mm) on Wednesday at 1 and 7:30pm. More info at

The Cinema Culture presents Taco Cinematheque (at Tacos Garcia, 3329 W. Armitage Ave.), which will screen Lindsay Denniberg's 2012 film VIDEO DIARY OF A LOST GIRL (96 min, Video Projection - Unconfirmed Format) on Saturday at 7:30pm. Denniberg in person - plus free tacos!

Lincoln Hall (2424 N. Lincoln Ave.) screens Richard Robbins' 2013 documentary GIRL RISING (101 min, Video Projection - Unconfirmed Format) on Sunday at 4pm; and Conor Masterson's 2013 music documentary THE FRAMES: IN THE DEEP SHADE (90 min, Video Projection - Unconfirmed Format) on Sunday at 7pm.

The Italian Cultural Institute (500 N. Michigan Ave., Suite 1450) screens Ermanno Olmi's 2007 film ONE HUNDRED NAILS (92 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm.

The Goethe-Institut Chicago (150 N. Michigan Ave., Suite 200) screens Petra Seeger's 2008 documentary IN SEARCH OF MEMORY: THE NEUROSCIENTIST ERIC KANDEL (95 min, Video Projection - Unconfirmed Format) on Thursday at 6pm.

The Alliance Française (54 W. Chicago Ave.) screens Philippe Lioret's 2004 film L'ÉQUIPIER (105 min, Video Projection - Unconfirmed Format) on Saturday at 1:30pm, with an introduction from Randy Williams.

At the Logan Theatre this week: John G. Avildsen's 1984 film THE KARATE KID (126 min, Video Projection - Unconfirmed Format) is on Friday, Saturday, and Monday at 11:15pm and on Saturday and Sunday at Noon; Ken Russell's 1975 musical TOMMY (111 min, Video Projection - Unconfirmed Format) is on Friday, Saturday, and Monday at 11:45pm; Jim Van Bebber's 2003 film THE MANSON FAMILY (95 min, Video Projection - Unconfirmed Format) is on Saturday at 11:55pm; Richard Linklater's 1993 film DAZED AND CONFUSED (102 min, Video Projection - Unconfirmed Format) is on Tuesday at 8pm; the Wednesday Rewind program is an hour-long clips reel of scenes from various Nigerian and Ghanian films, followed by Ugo Ugbor's 2007 Nigerian film 666 (BEWARE THE END IS AT HAND) (Unconfirmed Running Time, Video Projection - Unconfirmed Format) at 10:30pm, presented by Odd Obsession Brian Chankin, who will also have a selection of his Nigerian and Ghanian movie posters on display in the lobby; and Jonanthan Demme's 1984 concert film STOP MAKING SENSE (88 min, Video Projection - Unconfirmed Format) is on Thursday at 11pm.

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CINE-LIST: April 12 – April 18, 2013

Patrick Friel

CONTRIBUTORS / Michael Castelle, Rob Christopher, Tristan Johnson, Kat C. Keish, Mojo Lorwin, Ben Sachs, Harrison Sherrod, Kyle A. Westphal, Darnell Witt

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