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:: Friday, APR. 24 - Thursday, APR. 30 ::


Kartemquin Members' Work for Hire (Documentary Revival)
South Side Projections at the Logan Center for the Arts (915 E. 60th St.) - Friday, 7pm

South Side Projections kicks off a four-part series titled "The Streets and the Classrooms: Educational and Industrial Films in an Era of Massive Social Change" with early commissioned work from some of Kartemquin Films' inaugural members. They need no introduction around these parts, but at one point in the organization's prodigious history, the men and women at the helm were like many young artists in that they occasionally outsourced their talents to both pay the bills and fund their passion projects. As SSP states on their website, "they used this work as an opportunity to hone their craft and learn about different worlds of work," the latter advantage being especially evident in the wide array of subject matter represented in their early oeuvre. The program includes several industrial shorts about various fields, from organ transplantation to fast food franchising (though those have their own gruesome similarities, but there's neither here nor there). Aptly called STRANGE AND BEAUTIFUL, a short about quality control at McDonald's approaches corporate lingo as a sort of beat poetry that's both fascinated with and unnerved by the industry. Though Steve James wasn't involved with the film's production, it's vaguely reminiscent of the equitableness he displayed in his 2003 film STEVIE. (Of course, that's assuming the topic discomfited the filmmakers, though it's hard to imagine any rational person not being squicked out by Golden Arch evangelism.) Another program centerpiece, ROADMAP FOR CHANGE: THE DEMING APPROACH, is more aligned with Kartemquin's ideology as it's about the implementation of W. Edward Deming's "14 Points for Management Transformation" at a Pontiac factory in Michigan. The antithesis of Six Sigma, Deming's 14 points are a combination of practical and philosophical principles that essentially place the burden of success on management rather than the workers. (Some of the points include "Institute training on the job"; "Drive out fear, so that everyone may work effectively for the company"; and "Remove barriers that rob the hourly worker of his right to pride in workmanship.") The documentary adopts Deming's aggressive approach to confronting management issues, with one higher-up eventually admitting that the new practices took him out of his air-conditioned office and onto the factory floor where he soon realized his own expendability. Kartemquin has made several films about organized labor, and this commission feels like an honorary member of that group. The other shorts include THE TDM CONTINUING EDUCATION SERIES: PART TWO, about the use of anesthesia during liver transplantation, and a film made for St. James Hospitals and Health Centers about the Women Take Heart initiative. Presented by Judy Hoffman (University of Chicago, Kartemquin Films member) and Gordon Quinn (Kartemquin Films Co-Founder). (1976-90, approx. 81 min total, 16mm and Video Projection) KS
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Jean Renoir's THE WOMAN ON THE BEACH (American Revival)
Music Box Theatre - Saturday and Sunday, 11:30am

Jean Renoir was compelled to re-edit and even re-shoot parts of THE WOMAN ON THE BEACH after a calamitous preview screening in Santa Barbara, the result of which is this 71-minute release version that Renoir himself described as being "neither flesh nor fish." As Pauline Kael noted in her review, he had said he was trying to make "a love story in which there was no love," the attractions being "purely physical," but that its raison d'etre was lost in the mangling. Still, that hasn't stopped critics from making the best of a bad situation. Jacques Rivette declared it a masterpiece, and Andre Bazin said that "however mutilated it is in comparison with the original, it can still be as fairly judged as, say, von Stroheim's GREED."  It's about a U.S. Coast Guard officer who becomes enamored with a woman married to a famous artist whom she accidentally blinded during an argument. Plotwise, it's lacking, and a thematic analysis seems fruitless in light of the disparities. The motivations of Lieutenant Scott and his paramour, Peggy, are straightforward enough, so it's just the blind artist husband whose intentions are unclear and therefore more interesting. Bazin succinctly stated that "Renoir puts forth facts, one after another, and the beauty stems from the inexorability with which they follow each other." Aesthetically, "it looks like a film made by Fritz Lang" (Bazin again), with hints of both surrealism and the poetic realism that Renoir helped establish. (A synopsis on the MoMA website says that he intended the film to be a return to the movement.) This critic mostly agree with Kael that his last Hollywood film is "an over-aestheticized, interesting failure," but one could argue that's even more reason to see it on the big screen. Of course, Bazin's defense of it as being "pure cinema" doesn't hurt either. (1947, 71 min, 35mm) KS
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Mike Leigh's MR. TURNER (New British)
Gene Siskel Film Center - Check Venue website for showtimes

Mike Leigh's brilliant, quasi-secretive methods of creating his unique brand of cinema--his completed screenplays apparently grow out of intensive improv-workshops with his actors--always yield spontaneous and dynamic results but there is something particularly fascinating about seeing his style applied to period pieces (as in TOPSY TURVY, VERA DRAKE, and now this); Leigh has a way of making the past feel more alive and less mummified than other directors. MR. TURNER is a biopic of 19th-century British painter J.M.W. Turner, a master famed for the diffused light in his seascapes, and focuses on the last couple decades of the artist's life. Turner is inhabited by Timothy Spall, a terrific character actor with a stout physique and weak chin, who tears into his biggest movie role with aplomb--he and Leigh conceive of Turner as a larger-than-life, eccentric and self-centered prick whose face is twisted into a permanent grimace and who communicates with those around him, when at all, primarily through grunts, groans and other guttural utterances. The film essentially asks the age-old question of how an artist can be so sensitive to the beauty of nature while also being so insensitive to the people around him. While it's not likely that Leigh "identifies" with Turner in the manner of, say, Hayao Miyazaki and the artist-protagonist of THE WIND RISES, this is clearly a deeply felt work through which the filmmaker does convey personal feelings--perhaps nowhere more than in the unflattering and satirical portrait of a pretentious art critic. Leigh's stock company of actors (Karina Fernandez, Lesley Manville, Ruth Sheen, Peter Wight, etc.) turn up to do creditable work but this is Spall's show all the way. (2014, 150 min, DCP Digital) MGS
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Cinemetrics Across Borders (Conference)
Neubauer Collegium for Culture and Society and the Film Studies Center (University of Chicago)* - Thursday, 3pm through Sunday, May 3 (Free Admission)

We live in the age of data journalism, as trendily evidenced by the likes of FiveThirtyEight and But what comes afterwards, when the media-savvy political scientists have shuffled back to their brandy-scented dens and the graphic designers are begging for scraps on the sidewalk and ranting about kerning to a vanished audience? I prophesy an age of data criticism, which will prove more disruptive than any start-up firm. Fifteen years ago, data and criticism wanted nothing to do with one another--a city mouse drifting through the house music haze of statistics and trendlines and a country mouse subsisting on intuition and atavistic humanism. Only a few fringe academics like Barry Salt, Kristin Thompson, and David Bordwell were watching movies with a stopwatch in hand, instead of a bag of popcorn. Critics like Roger Ebert recognized some utility in yoking the two together: by citing the average shot length (ASL) of Michael Bay's ARMAGEDDON, he might reinforce his opinion that no intelligent life could grow in that particular petri dish. It would take Cinemetrics, a powerful computer application developed by Yuri Tsivian and his son Gunars Civjans and hosted on a server in Latvia, to reconcile our musty movie mice. The old stopwatch method--clicking a counter at every cut, and using the final tally as the denominator to the running time's numerator--was useful but crude. It produced a single data point: the ASL. But what if the ASL ebbed and flowed throughout the movie? What if the movie was strategically sculpted around micro-rhythms, interruptions, and shock cuts? Cinemetrics allowed the prospective viewer-scholar to create a graphic transcription of each and every cut, all with a charming, user-friendly interface modeled on the intertitles in D.W. Griffith's INTOLERANCE. The interface also allowed for advanced study: with the stroke of the keypad, one could distinguish between close-ups and medium shots in the latest Hollywood blockbuster or amber and lavender tints in a silent feature. One wily contributor even graphed MSNBC's broadcast of George W. Bush's 2007 State of the Union address. The data produced by Cinemetrics did not look much like a movie at first, but as the graphs accumulated, the program revealed a consistent narrative curvature: many films slowly build up their rhythm, climax prematurely with a hard-charging montage, catch their breath, and then plow ahead even faster than before. The earliest adopters of Cinemetrics received t-shirts plotting the heavy petting of THE BIG SLEEP. (Full disclosure: I still own such a t-shirt, and Yuri coined the phrase "Westphal proportion" on the basis of my celebrated graph of SCARFACE: THE SHAME OF A NATION.) In the hothouse atmosphere of Hyde Park, where the average syllabi might include Peter Kubelka's ARNULF RAINER, Ernie Gehr's WAIT, Stan Brakhage's TEXT OF LIGHT, or Larry Gottheim's FOG LINE, who was to say that these Cinemetrics graphs weren't just movies viewed sideways, cinema by other means? The Cinemetrics Across Borders conference includes four days of scholarly panels, colorful graphs, screenings, and a keynote address by BOYHOOD editor Sandra Adair, A.C.E.. KAW
* The Thursday activities take place at the Neubauer Collegium (5701 S. Woodlawn). The Friday-Sunday activities take place at the Logan Center for the Arts (915 E. 60th St.)
More info and full line-up at


Pierfrancesco Diliberto's THE MAFIA ONLY KILLS IN SUMMER (New Italian)
Facets Cinémathèque - Check Venue website for showtimes

Films produced outside the U.S. that qualify as mainstream entertainment are in such short supply in American movie theaters today that many Americans are under the mistaken impression that "foreign films" and "art films" are somehow synonymous. It is therefore refreshing to see a popular Italian comedy like THE MAFIA ONLY KILLS IN SUMMER receiving U.S. distribution even if, in spite of the movie's broad comedic and sentimental flourishes, the requisite English subtitles guarantee that it will be relegated to the arthouse ghetto. Television personality-turned-filmmaker Pierfrancesco Diliberto (better known as "Pif") co-wrote, directed and stars in this first feature, a winning satire set in his native Palermo that daringly uses the city's high-profile mafia wars from the 1970s through the 1990s as the real backdrop to a fictional love story. The premise is that Arturo (played by Alex Bisconti as a child and Pif as an adult) is a naïve klutz and aspiring journalist whose lifelong pursuit of his ideal, the beautiful Flora (Ginevra Antona/Cristiana Capotondi), is mirrored at every turn by real mob hits, the aftermath of which is frequently shown in archival news clips. Such jarring juxtapositions of silly comedy and gruesome tragedy have invited criticisms of bad taste but the more the film goes on, the more one realizes that its deceptively cloying, FORREST GUMP-esque approach to history conceals an expression of genuine rage towards mafiosi who perpetrate acts of senseless violence as well as the politicians and ordinary citizens of Palermo who turn a blind eye toward them. In the end, THE MAFIA ONLY KILLS IN SUMMER is not only an entertaining film but an important act of political defiance; among the closing credits is a statement that the film was made without paying "protection money," an anomaly in Sicily where the "Cosa Nostra" still extorts hundreds of millions of dollars from local businesses annually. (2013, 90 min, Unconfirmed Format) MGS
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Jake Myers' WHITE COP (New American)
Music Box Theatre - Friday and Saturday, Midnight

Local filmmaker Jake Myers' second feature, WHITE COP, is a lo-fi, satirical approach to the cop film. Heavily inspired by the popular alternative comedy styles of Adult Swim programs and WET HOT AMERICAN SUMMER, WHITE COP is anything but subtle. Breaking the fourth wall and gratuitous mugging for the camera contribute to the film's tongue in cheek narrative. Officer Kip White (Ben Kobold) will stop at nothing to avenge the murder of his partner, JJ (Christopher Waldron), by the European Cartel after a sting to stop the importation of a new street drug called Stamp goes awry. There are latent homoerotic undertones present throughout in addition to the most off-putting sex scene since THE ROOM: moments that are often hilarious and at times, painfully awkward to witness. The characters run the gamut, from stereotypical gangsters of various European descents to the corrupt political figure who can only be described as Al Roker with a hockey player's smile. The wacky performances come together in a pleasingly offbeat way. Myers' use of the montage sequence is executed to great comedic effect, blending to jarring effect parodies of cheesy 80's training montages and VH1/MTV style music videos from the 90's. Myer's is emulating the instant gratification and short attention spans that has become prevalent in today's society thanks to social media and smart phones. WHITE COP is a unique critique on modern life that's perfect for a late night viewing. (2014, 82 min, DCP Digital) KC
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Victor Fleming's GONE WITH THE WIND (American Revival)
Doc Films (University of Chicago) - Monday, 7pm

Critic Dave Kehr said it best about the classic film that has largely escaped in-depth critical scrutiny while likewise enjoying mass acclaim: "A critic-proof movie if there ever was one: it isn't all that good, but somehow it's great." Kehr perfectly encapsulates the mystery that is the enduring popularity of GONE WITH THE WIND, a success that can only rightly be attributed to the book's author and the film's passionate producer; according to Molly Haskell's book, Frankly My Dear: Gone With the Wind Revisited, the film had five directors, including George Cukor and Sam Wood, and though Victor Fleming was the final, credited director, it would be highly inaccurate to credit the overall result to any one of those people. Instead, it was a combination of Margaret Mitchell's best-selling book and David O. Selznick's dedication to the source material, a trait for which he was known, that elevated the film from far-fetched pipe dream to worldwide phenomenon. The critical success of an epic film is often attributed to its director, but Selznick was not interested in people looking to advance their own vision--instead, he sought to bring the story to the screen as it existed on the pages. As is also noted in Haskell's book, one critic called the film "the supreme custom-built movie," referring to the leveled process used to amalgamate all the parts that would comprise an ardent representation of the novel. Legend surrounding the film's production recalls the desperation for Clark Gable to play Rhett Butler and the serendipity with which Vivien Leigh became Scarlett O'Hara. Such lore seems to suggest an endeavor in which the sum of its parts is equal to the 'whole,' which provides a sharp contrast to several other films of the same year that are known almost solely by who directed them. Standing out amongst the crowd is William Cameron Menzies, whose art direction presents the South during the Civil War aflame with defeat and Technicolor. (1939, 238 min, 35mm) KS
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Harold P. Warren's MANOS: THE HANDS OF FATE (American/Cult Revival)
Doc Films (University of Chicago) - Thursday, 9:30pm

The sadness that washed over me the first time, many years ago, that I ever saw an episode of Mystery Science Theater 3000 remains a bitter ache that, like a cut inside your mouth, seems to reopen and refresh itself every time you notice it. Lovely, idiosyncratic, intensely felt, and deeply strange films were unearthed on that show, movies that in their inimitable misunderstandings of classic Hollywood idioms and troubled relationships with narrative were like mysterious blind alleys branching off the tedious main thoroughfares of cinema. Delirious, visionary, and transformative, movies like BRIDE OF THE MONSTER, THE INDUSTRUCTIBLE MAN, THE AMAZING TRANSPARENT MAN, and NIGHT OF THE BLOOD BEAST, movies that I treasure, movies that are among the greatest of their times, were made into mere setups for cruel mockery on the part of comedians whose interest in cinema was apparently limited to finding hilariously wanting anything that didn't look like the anonymous productions of well-paid professionals. In January, 1993, Mystery Science Theater 3000 aired one of its most notorious episodes when the cast set up to piss all over a largely-forgotten horror film from 1966, made by a cast and crew who were almost all complete amateurs and produced by an insurance salesman merely so as to win a bet. It was MANOS: THE HANDS OF FATE, directed, produced, written by, and starring Harold P. Warren. Much has been written on MANOS, nearly all of it supporting the proposition that it is not merely bad but amazingly bad, a film admirable and remarkable precisely because it is a contender for the worst film ever made. It is not the worst film ever made. In fact, it is extraordinary, a mesmerizing and precious piece of film history. The bare plot line is easily summarized, though to do so, as with all great cinema, is to miss everything of note in the film. A married couple and their young daughter lose their way and end up at a decrepit old house manned by a disturbed cripple named Torgo. The house is the home of the Master, a priest of some sort, endowed by the god Manos with undisclosed powers that may include mental domination. The Master rules over a cult of scantily-clad and in-fighting women, his brides, and contends with Torgo for sexual access to them. The family finds themselves turned into unwilling battlegrounds for this contest between Torgo and the Master. What matters, though, is not the silly erotic mysticism of the story but the movie's rhythms, its style, its camerawork, which in their outsider brutishness combine to form nothing less than a window into an alternative conception of cinema itself. Where many movies strive for a rough continuity between our experience of the world and the constructed phenomenology of the art world, MANOS jettisons any coherence of character or theme, all but the slightest glimmer of narrative structure, and the rudimentary foundations of cinematic convention. One's experience of time and space, critical philosophy recognizes, is not found within that which we perceive but in fact structures the very act of perception. Ingrained within the very fabric of reason, the intuitions of space and time allow for, shape, and control the kinds of sensations we're capable of having. To watch MANOS: THE HANDS OF FATE is to encounter a direct assault upon those representations. It's a project doomed to fail, a doom echoed by the overarching doom that the ever-approaching, never appearing god Manos himself represents in the film.  But it's a film that in its failure is nothing less than astonishing. Note: The version of MANOS: THE HANDS OF FATE being shown has been lovingly restored by Benjamin Solovey from the original 16mm workprint. It has never looked better, even at the 1966 premiere. If you are only familiar with the film from the washed-out, cropped version circulating in the public domain, you are in for a revelation. (1966, 69 min, DCP Projection) KB
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Leslie Buchbinder's HAIRY WHO & THE CHICAGO IMAGISTS (New Documentary)
Gallery 400 (400 S. Peoria St., UIC) - Thursday, 5:30pm (Free Admission)

For the longest time there was a dearth of scholarly coverage of the Hairy Who and the Chicago Imagists. Prominent figures like Ed Paschke and Karl Wirsum were periodically spotlighted as solo artists, but it was difficult to contextualize their work within a larger historical narrative. What was the relationship between the Hairy Who and other cliques in the Chicago art scene like the Monster Roster and Nonplussed Some, not to mention the Pop artists based in NYC? This is the subject of Leslie Buchbinder's new documentary, HAIRY WHO & THE CHICAGO IMAGISTS, which functions as a brilliant treasure trove of interviews and archival photographs, aided by animations by cartoonist Lilli Carré. The Imagists drew inspiration from comic books, tattoo flash, and the iconography of local spectacles such as Maxwell St. market. However, unlike their East Coast, postmodern counterparts, the Imagists had a sincere love of mass culture. In this sense, they leapfrogged much of the debate that has preoccupied the contemporary art discourse over the past several decades, presaging what some critics refer to today as "metamodern." The influence of the Imagists can be seen in the work of Gary Panter, Mike Kelley, and John Kricfalusi. Moreover, in an extended interview with the director (which can be read on the Cine-File blog), she expands on the intimate link between Imagists and the cinema--just another footnote in what amounts to the most comprehensive chronicle of Chicago's most vibrant, iconoclastic, and carnivalesque chapter in art history. Followed by a panel discussion on "Gender Equality in the Visual Arts, " moderated by Judith Kirshner; panelists: Barbara Rossi (Chicago artist), Sue Williams (NYC and Chicago artist), Claudine Ise (speaking as a critic and director of Woman Made Gallery). Reception at 5:30pm, screening begins at 6pm, panel discussion at 8pm. (2014, 105 min, Video Projection - Unconfirmed Format) HS
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Chicago Filmmakers (5243 N. Clark St.) presents Milton Moses Ginsberg's 1969 film COMING APART (110 min, DVD Projection) on Saturday at 8pm. Programmed and introduced by Tim Kinsella. Repeats at Columbia College Chicago (Hokin Hall, 623 S. Wabash Ave.) on Wednesday at 6:30pm.

The Nightingale (1084 N. Milwaukee Ave.) presents California Picture Book on Friday at 8pm. Comprised of work by Bay Area film and video makers and curated by Mary Helena Clark (in person) and tooth. The program includes work by John Davis, Mary Helena Clark, Michael Bucuzzo, Zachary Epcar, Kent Long, Christina Kolozsvary, tooth, Zach Iannazzi, and Vanessa O'Neill. (2003-14, approx. 66 min total, 16mm/Dual 16mm/Super 8mm/Video Projection)

Northwestern University (Annie May Swift Hall, 1920 Campus Dr.) screens Tan Pin Pin's 2013 documentary TO SINGAPORE, WITH LOVE (70 min, Video Projection - Unconfirmed Format) on Friday at 7pm, with Tan in person. Presented by Northwestern University Singaporeans and Friends (NUSAF). Free admission, but the event has reached capacity with RSVPs; there may be seats available depending on no-shows.

Oracle Theatre (3809 N. Broadway) presents Take 7 - Nelson Carvajal on Thursday at 8pm, Friday and Saturday, May 1 and 2, at 8pm, and Sunday, May 3 at 7pm. The program features a selection of twelve short works (2011-14) by the local filmmaker and video essayist, who will be in person. Free admission.

Black Cinema House (7200 S. Kimbark Ave.) screens Gene Graham's 2007 film THE GODFATHER OF DISCO (82 min, DVD Projection) on Thursday at 7pm. Followed by DJ set. Free admission, but limited seating; RSVP at

The Museum of Contemporary Art hosts as part of the Creative Music Summit a Talk with flutist/composer Nicole Mitchell, violinist/composer Renée Baker, media artist Ulysses Jenkins, film scholar Jacqueline Najuma Stewart, and film producer Don DiNicola on Sunday at 1pm; a screening of work by Ulysses Jenkins on Sunday at 3pm; and a screening of Oscar Micheaux's 1925 silent film BODY AND SOUL (Unconfirmed Running Time and Format), showing in DiNicola's "restored print" (we're not sure what that means), with a new score by Baker.

Comfort Film at Comfort Station Logan Square (2579 N. Milwaukee Ave.) presents Ten Wing Media Science Fiction Shorts on Saturday at 7pm. Screening are Jason Huls' 2014 film CITIZENS IN A TEMPLE (35 min) and his 2011 film THE DRONE (35 min), with Huls in person; and Selections from Feratum Fest on Wednesday at 8pm. Free admission for both.

Also at the Gene Siskel Film Center this week: Hou Hsiao-Hsien's 1995 film GOOD MEN, GOOD WOMEN (108 min, New 35mm Print) is on Sunday at 3pm and Wednesday at 6pm; the shortened, edited version (not approved by the director) of Abel Ferrara's 2014 film WELCOME TO NEW YORK (108 min, DCP Digital) and Jody Lee Lipes' 2014 documentary BALLET 422 (75 min, DCP Digital) both play for a week; and VILLA TOUMA (plus short), THE WANTED 18 (plus short), and MAY IN THE SUMMER (plus short) show in the Chicago Palestine Film Festival (check venue website for details).

Doc Films (University of Chicago) this week: Stanley Kubrick's 1964 film DR. STRANGELOVE, OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (95 min, 35mm) is on Friday at 7 and 9pm, Saturday at 1pm, and Sunday at 1:30pm; Clint Eastwood's 2014 film AMERICAN SNIPER (132 min, DCP Digital) is on Saturday at 7 and 9:45pm and Sunday at 3:30pm; Frank Tashlin's 1956 film THE GIRL CAN'T HELP IT (99 min, DCP Digital) is on Sunday at 7pm; Frederick Wiseman's 1983 documentary THE STORE (118 min, 16mm) is on Tuesday at 7pm; Jack Arnold's 1957 film MAN IN THE SHADOWS (80 min, DCP Digital) is on Wednesday at 7 and 9pm; and Sergio Sollima's 1973 film BLOOD IN THE STREETS (111, 35mm) is on Thursday at 7pm.

Also at the Music Box Theatre this week: Frédéric Tcheng's 2014 documentary DIOR AND I (90 min) and Ross Katz's 2014 film ADULT BEGINNERS (90 min) both open; David Robert Mitchell's 2014 film IT FOLLOWS (100 min, DCP Digital) continues daily (except for Monday) at 9:45pm only; Jason Wise's 2012 documentary SOMM (93 min) is on Wednesday at 7:30pm in the Wine in Film series; Douglas Kass and Roger Kass' 2013 documentary EMPYING THE SKIES (78 min) is on Saturday and Sunday at 11:30 am; Tommy Wiseau's 2003 film THE ROOM (99 min, 35mm) is on Friday at Midnight, and Jim Sharman's 1975 film THE ROCKY HORROR PICTURE SHOW (100 min, 35mm) is on Saturday at Midnight. Unconfirmed Formats except where noted.

Block Cinema (Northwestern University) screens Teodora Ana Mihai's 2014 documentary WAITING FOR AUGUST (88 min, DCP Digital) and local filmmaker and NU professor Kyle Henry's 2014 documentary short HALF-LIFE OF WAR (7 min, Digital Projection) on Friday at 7pm. Henry in person.

Also at Facets Cinémathèque this week: Chicagoland Shorts screens on Saturday at 4:30 (reception at 3pm) and Sunday and Monday at 7pm. Featuring work by Fawzia Mirza & Ryan Logan, Robert Carnilius, Lydia Fu, Fred Frederiksen & Dylan Jones, Amanda Taves, Amir George, Michael Paulucci, Valia O'Donnell, and Eugene Sun Park. Filmmakers in person. (2008-15, approx. 66 min total, Video Projection - Unconfirmed Format)

The Chicago Cultural Center screens UNCHARTERED TERRITORY (no details available), an episode of the documentary series The School Project, on Saturday at 2pm, followed by a panel discussion. Free admission.

The Italian Cultural Institute (500 N. Michigan Ave.) screens Federico Fellini's 1972 film ROMA (128 min, DVD Projection) on Tuesday at 6pm. Free admission.

Also at Gallery 400 (400 S. Peoria, UIC) this week: Ivan Dixon's 1973 film THE SPOOK WHO SAT BY THE DOOR (102 min, Video Projection - Unconfirmed Format) screens on Tuesday at 5:30pm. G400's website specifies that this is a youth-centric screening and that: "This is a youth-led and youth-centered space. Adults accompanying at least one young person are welcome." The event will include discussion and pre- and post-screening activities. Free admission.



I Am Logan Square (2644 ½ N. Milwaukee Ave.) opens the exhibition The Underground Prop Art Show on Saturday (opening reception 6-9pm). The show runs through May 22. It features various props and other items from films showing in the 2015 Chicago Underground Film Festival, by filmmakers including Jennifer Reeder, Mike Olenick, Jerzy Rose, Kenny Reed, Ali Aschman, Chris Sullivan, Laura Ann Harrison, Mike Lopez, Spencer Parsons, Lyra Hill and Todd Mattei.

The Museum of Contemporary Art Chicago presents an exhibition of nine video works by artist Keren Cytter. On view through October 4.

Blanc Gallery (4445 Martin L. King Dr.) continues the exhibition Nacelle, a show of video work by Marco G. Ferrari, through May 1.

The Museum of Contemporary Art Chicago presents German artist Clemens von Wedemeyer's HD video installation Muster (Rushes) (2012). On view through July 26.

David Weinberg Photography (300 W. Superior St., Suite 203) continues the exhibition Try Youth As Youth, which includes an installation version of Tirtza Even's NATURAL LIFE, plus work by Steve Davis, Steve Liss, and Richard Ross. Runs through May 8.



Chicago Public Library screenings: Due to the frequency of late-additions (past our deadlines) and to their frequent inability (due to licensing restrictions) of publicly listing the titles of films they are screening, we will no longer be listing specific CPL screenings. Check their website for any films that may be showing.

The Patio Theater and the Portage Theater calendars have been confusing and constantly shifting--adding and removing events with little notice--and reportedly have been unexpectedly closed for scheduled events. We will no longer attempt to list any screenings there.

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

The Northwest Chicago Film Society is again on hiatus for their weekly series. They plan to do occasional screenings as opportunities arise.

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CINE-LIST: April 24 - April 30, 2015

Patrick Friel

CONTRIBUTORS / Kian Bergstrom, Kyle Cubr, Kathleen Sachs, Harrison Sherrod, Michael G. Smith, Kyle A. Westphal, Darnell Witt

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