CRUCIAL VIEWING

Bill Brown's MEMORIAL LAND and CONFEDERATION PARK (Experimental Documentary/Essay)
The Nightingale (1084 N. Milwaukee Ave.) - Friday, 8pm
Every proper cinephile has, at one point or another, suffered from "SANS SOLEIL syndrome"—i.e., a difficulty in finding more films that successfully combine oneiric travelogue and armchair philosophy. Bill Brown's films manage to push these buttons while retaining the distinctly American voice of punk's indigenous literary art, the zine—the kind penned in roadside diners and at Greyhound stations, always searching for meaning, couches, and vegan food in unappreciated corners of North America. For CONFEDERATION PARK (1999), one of his greatest films, Brown drives the entirety of Canada east to west, from St. John's to Vancouver: the hypnotic 16mm visuals speak in the language of experimental cinema, while Brown's voice muses with some deliberateness on the distinctive politics and personality of each urban stopover; and in the more explicitly ethnographic MEMORIAL LAND (2012), his method involves visiting idiosyncratic 9/11 memorials across America. In both films, material that would (in so many other hands) become ironic portraits of flyover country is instead transformed into an aleatory engine of reflectiveness. Bill Brown in person, who will also be reading from the newest issue of his Dream Whip zine, accompanied by local musician (and filmmaker) Tom Comerford. (1999/2012, Approx. 60 min total (films), 16mm and Digital Video) MC
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More info at www.nightingalecinema.org.

Ghost Anthology: A History of Argentine Experimental Film (Experimental)
Conversations at the Edge at the Gene Siskel Film Center - Thursday 6pm
Presented entirely from Super 8, this is likely the only opportunity many in Chicago will ever have to see some of the best works from Argentina's prolific experimental film community. Organized by filmmaker Pablo Marín, this showcase provides a glimpse into a group of filmmakers whose work shows a dedication to capturing small gestures, and a whimsy not always present in the avant-garde. One of the highlights is Narcisa Hirsch's TESTAMENTO Y VIDA INTERIOR (1976, 11 min), almost a home-movie performance, featuring four other filmmakers carrying a coffin through the streets of Buenos Aires. Amateur, but not comical, these elegant figures in top hats carry out a jovial wake past parks and stores, and we're not quite sure how they feel about the symbolism of what they're doing. Where Hirsch's work (in this case, at least) owes more to the lyrical vein of the Experimental tradition, both Claudio Caldini's GAMELAN (1981, 12 min) and Gabriel Romano's UNTITLED (1982, 5 min) are working with the materialism of film and camera. Caldini's work begins as a frenetic swoosh of vertical lines in the frame, occasionally curving towards the sides. As this swooshing slows down, it becomes apparent that the camera is being swung at the end of a rope, a fitting metaphor for movement in cinema. Romano's film, discovered after his passing, illuminates the physicality of celluloid, and is a gorgeous pastiche of color and texture as the image is altered through melting and scratching. Not to be confused with a summary of filmmaking from Argentina in the past 35 years, this is a worthy primer, and it should be a treat to see it projected in its original format. Also screening: PASSACAGLIA Y FUGA (Jorge Honik and Laura Abel, 1976, 18 min), ESPECTRO (Sergio Subero, 2010, 9 min), EL QUILPO SUEÑA CATARATAS (Horacio Vallereggio, 2012, 8 min), and TRISTE (Horacio Vallereggio, 1976, Super 8, Sound, 4min). (1976-2013, approx. 75 min total, Super-8mm) JH
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More info at blogs.saic.edu/cate.

Andy Milligan's GURU, THE MAD MONK (American Revival/Exploitation)
Fright School at Facets Cinémathèque - Friday, Midnight
Andy Milligan's notoriety has had an uptick in the last couple of years, beyond his dedicated exploitation cinema advocates, thanks to filmmaker Nicolas Winding Refn, who it turns out has also been a long-time fan (and who bought a stash of his films on Ebay not too long ago). Milligan's films (those that still exist—a large number of them are lost) have primarily been seen in low-quality budget VHS and DVD copies. Refn is responsible for the recent BFI Blu-Ray release of NIGHTBIRDS (with THE BODY BENEATH as a bonus item). Well and good. But a shiny digital Blu-Ray seems rather antithetical to the funky grindhouse cinemas (sub-grindhouse, really) that Milligan's films circulated in in the 1960s and 70s. This is a cinema that really needs the tactility of the real thing—a well-worn, perhaps scratchy, perhaps splicy 35mm film print. Luckily, that's what is showing at the Fright School screening of GURU, THE MAD MONK—a vintage print from a private collection. The film is one of Milligan's period pieces; it's the story of an evil clergyman at a prison in a 15th penal colony somewhere in Europe. He's assisted by a hunchback. His lover is a vampiress. Milligan was a self-taught filmmaker and his work, at least evidenced from this, is crude. But I wouldn't necessarily say bad, and not full of the outré excesses that lead to a camp appreciation. While there are instances of deliberate stylization (especially in the costuming), much of the film is functional in its simplicity. Artlessness due to expediency. But it is exactly this quality that makes it interesting; it's stripped-down exploitation, with no nudity, no gore, and much of the mayhem left for off-screen. Milligan is invested in the psychology of his mad monk (as simplistic as it is), and the genre is only a vehicle. Besides, there's an earnestness to it all that is just damn compelling. Co-Presented by Chicago Cinema Society; Introduction by the Chicago Cinema Society's Jason Coffman. (1970, 56 min, 35mm) PF
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More info at www.facets.org.

Movieside Massacre (Special Event)
Movieside at the Patio Theater - Saturday-Sunday (Noon till Noon)
Movieside's yearly Massacre, playing at the Patio Theater this year, returns to Chicago this weekend with a strong lineup of mayhem, demonic possession, crazed bloodsuckers, and general delight. It kicks off at Noon with a double feature of Edison's 1910 adaptation of FRANKENSTEIN (16 min, Unconfirmed Format) and Roy William Neill's FRANKENSTEIN MEETS THE WOLFMAN (1943, 74 min, 35mm). The first is remarkable mainly for the memorable scene of monstrous creation: FRANKENSTEIN's special effects, unmistakably primitive in technique, still succeed in evoking a deep-seated eeriness that settles over the film as a whole. Charles Ogle's performance as the Monster, while stiff and over laden with potent gestures, makes this a welcome companion piece to Bela Lugosi's turn as the Monster in the 1943 film. FRANKENSTEIN MEETS THE WOLFMAN strains every level of credibility in the neatness of its composition: Lon Chaney, Jr.'s Larry Talbot is accidentally brought back to life (having been killed at the conclusion of THE WOLF MAN) by grave robbers operating under a full moon. After a lackluster killing spree, he teams up with Maleva, the gypsy whose husband bit him in the previous film, played by the sublime Maria Ouspenskaya with incomparable gravitas and hopelessness. Together they search for the legendary Dr. Frankenstein in hopes of finding a way for Talbot to permanently die, only to find instead the Monster, now played by Lugosi, frozen in ice, and a new mad scientist intent on replicating Frankenstein's experiments. Naturally, the finale happens to coincide with another full moon, but fortunately, the local dam is easy to dynamite, washing away evil, if only for today. Next up at 2pm is Roger Corman's great THE TOMB OF LIGEIA (1965, 81 min, 35mm), the last of his Edgar Allan Poe adaptations. Unusually shooting on location in the English countryside, Corman largely sets aside the intense stylization of the earlier, more experimental Poe films in favor of a kind of lyricism of decay. Canting and dancing through thousand-year-old hallways, tracking Vincent Price's light-sensitive romantic, Corman's camera depicts the space of history as coexistent with that of the present, and monstrously so. It's entirely in keeping with the narrative line the film follows, in which Price's character grows convinced that his new bride is haunted by the malevolent spirit of his recently-deceased first wife. Following this is MARTIN (1978, 95 min, Unconfirmed Format), the greatest film by George A. Romero, screening at 3:45pm. A thoughtful, restrained, and melancholy film, MARTIN follows a young man who may be a vampire as he tries to make a new life in the outskirts of Pittsburgh. Plagued by visions of Old World vampire hunters, villagers with torches, and creepy castles, Martin tries, and fails, to keep himself from killing, to believe he is merely a man. And perhaps he is: one of the great strengths of the film is Romero's refusal to close down either possibility. Eventually, Martin's bloodlust, whether pathological or spiritual, gets the better of him, but who the film's real monster is remains in question right up to the end. Whom do we have the right to kill, MARTIN asks, and what do we do with ourselves after the act is done? Horrifying, and brilliant, and not-to-be-missed. 5:30pm brings DEAD AND BURIED (1981, 92 min, 35mm) and the event's first guest-star: the director, Gary Sherman. A strange and wonderful zombie film cum murder mystery, DEAD AND BURIED follows a small-town sheriff as he investigates a set of mass killings seemingly perpetrated, without any motive, by groups of everyday people. Is his town being quietly overrun by the walking dead? And if so, where are they coming from? Filled with scenes of deeply unsettling violence, DEAD AND BURIED reveals a pulsating, power-hungry evil beating at the heart of rural normalcy, as though the very landscape and lovely geography of the place were reason enough to drop dead and kill the happy. Our next special guest, Fred Walton, will present his APRIL FOOL'S DAY at 8:15pm (1986, 89 min., DCP). A strange, largely-forgotten take on the slasher film, APRIL FOOL'S DAY follows a group of insufferable college buddies with disposable income and expendable lives as they lounge about an island mansion on spring break. Naturally, one of them is a prankster, and perhaps a murderous one, but amid all the severed heads, slit throats, and clichéd dead phone lines is a clever running commentary on the entertainment value of violence and the lengths we'll go, the depths to which we'll sink, in an effort to amuse ourselves. At 10:15pm, our final celebrity visitor will walk us through A NIGHTMARE ON ELM STREET 2: FREDDY'S REVENGE (1985, 85 min, 35mm), one of the most misleadingly titled sequels in modern memory. Mark Patton, the lead in NIGHTMARE 2, plays Jesse, a closeted bisexual desperately trying to come to terms with his mid-80s wardrobe. Haunted by shirtless sleepovers with a totally straight friend who just happens to have a Limahl obsession and manhandled by his leather daddy gym teacher, Jesse has no recourse but to turn to Freddy Krueger, the knife-fingered child killer, for help. Fortunately, the power of heterosexuality can banish Freddy from Jesse's dreams. But is it too late to turn back? The 1987 Tibor Takács film THE GATE (85 min, 35mm) screens at 12:15am. A low-rent children vs. demons film, THE GATE features a very young Stephen Dorff as Glen, a kid who's left in the care of his teenage sister while their parents are out of town only to discover that their backyard is a portal to hell itself. With the help of his metal-head friend Terry, the youths fight the demonspawn. Fortunately, Terry's heavy metal music holds the secrets of the damned. Filled with cheap and delightful practical effects, THE GATE is a minor but heartwarming tale of battling evil while unsupervised by adults. Hell returns, this time with a creepy and deeply disturbing vengeance, at 1:45 with HELLBOUND: HELLRAISER II (1988, 93 min, 35mm) Tony Randel's effects-heavy and plot-light sequel. In this film Kirsty, having survived the puzzle box and Cenobites in the previous film, finds herself incarcerated in a mental asylum, where she's tended by a psychiatrist who, by curious chance, happens to be quite unhealthily interested in Pinhead and his friends. Soon a group of pretty, fleshy 20-somethings are wandering through a dimension of pain, splashed with gore and ripped apart by fishhooks. Nothing here makes a lick of sense—probably on the theory that incoherence is itself scary—and the film's action is so determined by what the SFX team was able to come up with that whole segments seem arbitrarily placed, but HELLBOUND maintains a power not entirely lost from the original film, a sensuousness and lust for death that pervades every frame. The apex of the Massacre comes at 3:30am with Dario Argento's wild, wonderful, and wicked DEEP RED (1975, 126 min, 35mm), in which David Hemmings, as an English pianist in Rome, finds himself investigating a series of murders of which he's the prime suspect. An exercise in the extension of suspense, DEEP RED is pure alchemy, transmuting spaces into death, camera moves into murder, swathes of color into madness. Argento is at the top of his powers here, brilliantly orchestrating his actors through the frame like dolls in a toy slaughterhouse, making no moral or clinical distinction between the dying and the living, between killing a man and composing a song, between unearthing a secret and slicing a neck. In his hands, the world itself is a constellation of murders, each taking place unpredictably, and at any moment, any one of us could be induced to kill. No one is safe, either from violence or from unexpectedly become endowed with that violence. At 6am, the tone turns decidedly toward the comic with WILD ZERO (1999, 98 min, DCP), a punk rock horror comedy from Japan in which a young man named Ace has to help the garage rock band Guitar Wolf defend the world against zombies, aliens, and its own fans. Guitar Wolf's members lack acting proficiency but more than make up for that in enthusiasm, and much of the movie is so patently ridiculous that one can't help but be delighted at the genre madness. This is blatant, unsubtle filmmaking at its best, the kind of deliberate trash that once adorned our dreams. SLITHER (2006, 95 min, 35mm), coming fast on its heels at 7:45am, gives us a vision of alien slugs invading our bodies through our mouths. Combining sub-Cronenbergian thematics with Nathan Fillion's infectious charisma ought to be a recipe for brilliant success, but the digital effects are jokey rather than gross and director/writer James Gunn is clearly more at home with the aesthetic of Troma than the New Flesh. The final film of the event is Sam Raimi's ARMY OF DARKNESS (1992, 89 min, 35mm). The third and, so far, final film following the moron Ash (Bruce Campbell) as he strives to save the world. Dripping with glee, ARMY OF DARKNESS is the perfect conclusion to these festivities: every poke in the eye, every zombie glare, every threat upon one's edible soul is an opportunity for Raimi's teenage sense of humor to show itself. It's filmmaking at its happiest, glorying in the bald capacities of cinema. Merely getting to move the camera is enough pretext for Raimi to set up an elaborate genre pun or visual gag, and the intricate stupidity of Ash, thrust back in time to Medieval England to fight the zombies he unleashed from the Necronomicon in the previous two (modern day) films is an elaborate counterpoint to his surprisingly badass versatility with a chainsaw and boomstick. 'Hail to the King, baby.' KB
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More info here.

ALSO RECOMMENDED

Gabriela Cowperthwaite's BLACKFISH (New Documentary)
Gene Siskel Film Center - Saturday, 3:30pm; Thursday, 8:15pm
Gabriela Cowperthwaite's documentary exposé examines the psychological tendencies of wild orcas as compared to the scores kept in metal tanks for human entertainment around the world. Weaving the peaceful nature of wild orcas with the often-aggressive nature of those found in captivity, the film treats the species as a complex character study while casting the upper management of SeaWorld as brutal, greedy animals. No single act of aggression from an orca to a human as ever been recorded in the wild, but the same cannot be said for the orca and human interactions in captivity, with more than 70 reported cases of violence just within the American SeaWorlds. Swimming between footage from the early '80s all the way to a 2010 incident, the film follows the life of the orca Tilikum who showed multiple instances of violence towards trainers but who was still used in shows and for breeding purposes. Cowperthwaite backs her emotional-heavy argument of admonishing animal entertainment shows with enough facts from marine researchers to make it sound, but she still holds a one-sided argument against SeaWorld as no current worker is represented in the film. Despite this potential weakness, the film is padded with enough diverse outside voices and intellectuals to still create a story comparing the animal hierarchy in nature to the greedy capitalistic ladder in corporations. (2013, 83 min, DCP Digital Projection) SW
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More info at www.siskelfilmcenter.org.

Olivier Assayas' IRMA VEP (French Revival)
Doc Films (University of Chicago) - Thursday, 7pm
Olivier Assayas' feverish black comedy—about a film production whose star (Maggie Cheung) and director (Jean-Pierre Leaud) are visibly unraveling—grows more and more unhinged with each scene before exploding, in its final minutes, in a flurry of pure abstraction. Assays' sharp observations about film culture and globalization (a central theme in his later work) share space with loopy identity games and uncomfortable sexual tension; the result is a darkly funny look at creative minds sputtering under pressure. Eric Gautier's restless handheld camerawork contributes to the anxious, edgy vibe. (1996, 99 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.

Hou Hsiao-Hsien's DUST IN THE WIND (Taiwanese Revival)
Doc Films (University of Chicago) - Monday, 7pm
With its adagio pacing and steady flow of non-accumulating action (like dust in the...), this could only be the handiwork of everybody's favorite failed pop singer/former small-time crook, Hou Hsiao-Hsien. Admittedly, you could recognize Hou's early stuff from a single frame: that distinctive camera is here, placed firmly but off-handedly, never betraying a sense of rigidity but instead suggesting arbitrariness. Hou's grand slightness—where classical realism is achieved by creating the illusion that a constructed, fictional moment has been recorded capriciously (enhanced here by the naturalistic acting)—is his trademark and litmus test; his major works can appear to be about absolutely nothing or absolutely everything, depending on an audience member's patience and the context within which Hou is working. Lacking the historical/conceptual scaffolding that defines his best-known work (as in A TIME TO LIVE AND A TIME TO DIE, A CITY OF SADNESS, THE PUPPET MASTER or THE FLIGHT OF THE RED BALLOON), DUST IN THE WIND is Hou's tactile realism at its rawest and simplest: pure directorial technique, working industriously towards no major goal except to be itself—to present reality with understated candor. Drawing no attention to either its vignette structure or its pronounced melancholy, it can appear trivial at a glance, but steadily reveals a de-emphasized profundity (what Jonathan Rosenbaum rightly called a "subterranean impact that gradually rises to the surface"). A film of great, submerged depth. (1986, 109 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.

MORE SCREENINGS AND EVENTS

Also at The Nightingale (1084 N. Milwaukee Ave.) is Despedida: Films by Alexandra Cuesta, a stunning program of experimental documentary/ethnographic work by the Ecuadoran filmmaker and CalArts grad, who will be in person. Showing on Sunday at 6pm. Screening are RECORDANDO EL AYER (2007), BEIRUT 2.14.05 (2008), PIENSA EN MÍ (2009), and DESPEDIDA (2013). All 16mm, Approx. 42 min total.

Chicago Filmmakers presents Stephanie Tisza: Interposing Geometries, a program of work by local experimental filmmaker Tisza, along with selected short and excerpts of work that has inspired her own practice. Screening are Tisza's THE WATER IS WIDE, SICK/SLEEP, THREE WOMEN, CONDITIONS, TERRIBLE SQUAD, and a new untitled work, along with Deborah Stratman's IN ORDER NOT TO BE HERE and excerpts from James Benning's ONE WAY BOOGIE WOOGIE and Chantal Akerman's JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES. Screening on Saturday at 7:30pm at Chicago Filmmakers (5243 N. Clark St.), with Tisza in person, and on Wednesday at 6:30pm at Columbia College's Ferguson Theater (600 S. Michigan Ave.).

The Chicago International Film Festival enters its first full week this week, and continues through October 24. Full schedule at www.chicagofilmfestival.com.

Northwest Chicago Film Society (at the Patio Theater) screens David Miller's 1962 western LONELY ARE THE BRAVE (107 min, 35mm) on Wednesday at 7:30pm.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Roy Rowland's 1954 film WITNESS TO MURDER (83 min, 35mm) on Wednesday at 1 and 7:30pm. Free admission. http://www.northbrook.info/events/film

The Film Studies Center (University of Chicago) screens Tony Palmer's 1979 documentary on Benjamin Britten, A TIME THERE WAS (103 min, DigiBeta Video), on Friday at 7pm.

Also at the Gene Siskel Film Center this week: D.W. Griffith's 1916 masterpiece INTOLERANCE (167 min, DCP Digital Projection; new digital restoration) is on Wednesday at 6:30pm; Mevlut Akkaya and Ron Frank's 2013 documentary WHEN COMEDY WENT TO SCHOOL (83 min, DCP Digital Projection) plays for a week; René Clair's 1950 film THE BEAUTY OF THE DEVIL (95 min, DCP Digital Projection; new digital restoration) screens on Friday at 6pm and Sunday at 4:45pm; Joachim Ronning and Espen Sandburg's 2013 film KON-TIKI (119 min, DCP Digital Projection) is on Friday at 7:45pm and Saturday at 5:15pm; Margarethe von Trotta's 2012 film HANNAH ARENDT (113 min, DCP Digital Projection) begins a two-week run; Arthur Penn's 1967 classic BONNIE AND CLYDE (112 min, 35mm) screens on Saturday at 5:15pm and Tuesday at 6pm, with a lecture by Laurence Knapp at the Tuesday show; Maxine Trump's 2012 documentary MUSICWOOD (80 min, HDCam Video) is on Saturday and Monday at 7:45pm, with producer and editor Josh Granger and Dan Wean, acoustic guitar specialist at Chicago Music Exchange, in person; Jean Renoir's 1932 film BOUDU SAVED FROM DROWNING (87 min, DCP Digital Projection; new digital restoration) is on Sunday at 3pm and Monday at 6pm; and Randall Miller's 2013 film CBGB (90 min, DCP Digital Projection) is on Thursday at 10pm.

Also at Doc Films (University of Chicago) this week: Darren Aronofsky's 1998 film PI (84 min, 35mm) is on Friday at 7, 9, and 11pm and Sunday at 1pm; Noah Baumbah's 2012 film FRANCES HA (86 min, 35mm) is on Saturday at 7 and 9pm and Monday at 9:30pm; James Whale's 1935 film REMEMBER LAST NIGHT? (81 min, 35mm) is on Sunday at 7pm; Rouben Mamoulian's 1929 film APPLAUSE (80 min, 35mm) is on Tuesday at 7pm; John Cassavetes' 1970 film HUSBANDS (131 min, 35mm) is on Wednesday at 7 and 9:45pm; and Todd Solondz's 1998 film HAPPINESS (134 min, 35mm) is on Thursday at 9:15pm.

At the Music Box Theatre this week: Jim Mickle's 2013 film WE ARE WHAT WE ARE (105 min) opens; Gilles Legrand's 2011 film YOU WILL BE MY SON (102 min) continues; Jonathan Levine's 2006 film ALL THE BOYS LOVE MANDY LANE (90 min) screens daily at 9:40pm; Baran bo Odar's 2010 film THE SILENCE (118 min) is on Saturday and Sunday at 11:30am; Clyde Bruckman and Buster Keaton's 1926 silent comedy THE GENERAL (107 min, 35mm) is on Saturday at Noon, with live organ accompaniment by Dennis Scott; Chicago Comedy Pilot Selections is on Tuesday at 9:30pm; Steve Barnett's 1992 film MINDWARP (Unconfirmed running time; restored director's cut) and Wes Anderson's 2001 film THE ROYAL TENENBAUMS (110 min, 35mm) are the Friday and Saturday Midnight films. Unconfirmed Formats, except where noted.

Facets Cinémathèque screens Bernard Rose's 2012 film TWO JACKS (90 min, Unconfirmed Format) for a week's run; Mireia Sallarès' 2009 Mexican documentary LITTLE DEATHS (286 min, Unconfirmed Format) on Sunday at 4pm, with Sallarès in person; and Adrian Garcia Bogliano's 2006 Argentine film 36 STEPS (98 min, Unconfirmed Format) is showing in the Fright School series on Saturday at Midnight, with an introduction by Demetra Materis and a pre-recorded Q&A between Materis and director Bogliano.

The Patio Theater screens Brian De Palma's 1987 film THE UNTOUCHABLES (119 min, DCP Digital Projection) on Sunday at 5 and 7:30pm; and Ridley Scott's 1979 film ALIEN (117 min, DCP Digital Projection) on Thursday at 7:30pm.

The Logan Theatre screens Tim Burton's 1988 film BEETLEJUICE (92 min) on Friday, Saturday, and Monday at 10:30pm and Saturday and Sunday at 12:30pm; Wes Craven's 1984 film A NIGHTMARE ON ELM STREET (91 min) on Friday, Saturday, and Monday at 11pm and Saturday and Sunday at 2:50pm; Ti West's 2009 film THE HOUSE OF THE DEVIL (95 min) on Thursday at 10:30pm; and Fred Dekker's 1987 film THE MONSTER SQUAD (82 min) on Saturday and Sunday at 1pm. All Digital Projection - Unconfirmed Format.

Hilton/Asmus Contemporary (716 N. Wells St.) screens three John Ford films this weekend, presented in conjunction with the release of Joseph Malham's new book John Ford: Poet in the Desert, which will be available for purchase and signing. Screening are STAGECOACH (1939, 96 min; Friday at 7:30pm, introduced by Mike Hertenstein); HOW GREEN WAS MY VALLEY (1941, 118 min; Saturday at 7:30pm; introduced by Joseph Malham); and THE MAN WHO SHOT LIBERTY VALANCE (1962, 123 min; Sunday at 5:30pm; introduced by David Malham). All DVD Projection. Free admission. www.facebook.com/events/435811513204774/

The Italian Cultural Institute (500 N. Michigan Ave.) screens Niccolò Castelli's 2012 film EVERYBODY SOMETIMES FALL (98 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm.

The Logan Square International Film Series at Comfort Station Logan Square (2579 N. Milwaukee Ave.) presents a double feature of (Claudio Fragasso's (directing as Drake Floyd) 1990 film TROLL 2 (94 min, DVD Projection) and Fred Dekker's 1986 film NIGHT OF THE CREEPS (88 min, DVD Projection) on Wednesday at 7pm (TROLL) and approx. 8:30pm (CREEPS). Free admission. www.facebook.com/squarelogan

ONGOING FILM/VIDEO INSTALLATIONS

UPDATES/CLOSURES

The Portage Theatre remains closed for the foreseeable future.

The Patio Theater has discontinued its regular programming and will instead focus on presenting special events, rental screenings, revival screenings in digital, and The Northwest Chicago Film Society's weekly screenings.