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:: Friday, AUG. 28 - Thursday, SEPT. 3 ::


Kathleen Collins' LOSING GROUND (American Revival)
Chicago Filmmakers at Film Row Cinema (Columbia College, 1104 S. Wabash Ave., 8th Floor) - Thursday, 7pm

"There's nothing wrong with telling stories." So says one artist when another expresses envy over his ability to work instinctively as opposed to narratively. Director Kathleen Collins' LOSING GROUND is composed of various such oppositions that manifest themselves through Victor (played by Bill Gunn, best known for directing GANJA & HESS) and his wife, Sara (Seret Scott), a professor of philosophy. He's artistic; she's logical. This is the jumping off point from which other dichotomies--male versus female, creativity versus intellectualism, specificity versus abstraction--are explored. With regards to race, which is a de facto theme owing to the fact that it's one of the first fictional features to be directed by a black woman, the film shows rather than tells; many suspect that it was neglected upon its release because it portrays black characters as well-to-do professionals instead of as victims or thugs. In response to being asked if minority filmmakers have a duty to address their respective struggles, she said, "I think you have an even greater obligation to deal with your own obsessions." Though LOSING GROUND isn't exactly autobiographical, Collins herself was a professor (at the City College of New York), and the name of the film comes from one of her own short story collections. Sara's almost obsessive study of aesthetic experience both parallels the aforementioned oppositions and prompts the changes that occur over the course of the story. "Essentially it's that change is a rather volatile process in the human psyche," Collins said in an interview with James Briggs Murray for Black Visions. "And, that real change usually requires some release of fantasy energy." This last part refers to the dance-centric film-within-a-film that Sara acts in at the behest of one of her students, which she does in an attempt to achieve the same creative ecstasy as her husband and actress mother. (The meta-film also mirrors the central drama of the narrative.) Overall, the film is an astute meditation on a great many things: the academic experience, the aesthetic experience, the black experience, and Sara's experience as a woman. Collins was also a person of varied interests; in addition to teaching, writing, and making films, she was also a playwright and an activist. LOSING GROUND never received a theatrical release, and this is only the second time it will have screened in Chicago. (The first was in the early 80s, also at Chicago Filmmakers, presented by the Blacklight Film Festival.) Collins once remarked, "I'm interested in solving certain questions, such as: How do you do an interesting narrative film?" LOSING GROUND is an exceptional solution to that dilemma. There's nothing wrong with telling stories, indeed. (1982, 86 min, Digital Projection - Unconfirmed Format; New Restoration) KS
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Music Box Theatre - Friday to Thursday, check venue site for showtimes not indicated

Here's one festival that's putting its money where its mouth is. We haven't seen so many 35mm prints scheduled at one venue since AMC River East converted to digital projection. (Unlike the past two editions of Noir City, there's nary a DCP in sight.) More importantly, Noir City has been funding new photochemical preservation efforts through its parent, the Film Noir Foundation, and this year's festival includes several such titles. The festivities commence with Norman Foster's WOMAN ON THE RUN (1950, 77 min, 35mm), an Ann Sheridan noir so rare that its studio scarcely knew it existed before Noir City came knocking. The Film Noir Foundation also underwrote the preservation of THE GUILTY (1947, 71 min, 35mm) and anyone who saw John Reinhart's CHICAGO CALLING at Noir City two years ago will be eager to catch another effort from this modest auteur, who thoughtfully imported the Italian neo-realist aesthetic to Poverty Row. As if hoping to out-Ulmer Edgar G., THE GUILTY was filmed on only three sets. The closing night feature, THE UNDERWORLD STORY, is likewise another deep catalog dive, this time with FNF favorite Cy Endfield; word is, UNDERWORLD STORY directs Endfield's trademark radical rage at the world of journalism with the same conviction he brought to TRY AND GET ME! In addition to the films listed above and below, the following are also showing: Joseph M. Newman's ABANDONED (1949, 78 min, 35mm Archival Print); Arthur Ripley's THE CHASE (1946, 86 min, 35mm Restoration); Sam Wood's IVY (1947, 99 min, 35mm Archival Print); John Brahm's HANGOVER SQUARE (1945, 77 min, 35mm); Charles Vidor's LADIES IN RETIREMENT (1941, 91 min, 35mm Restoration); Richard Wallace's THE FALLEN SPARROW (1943, 94 min, 35mm); John Cromwell's THE RACKET (1951, 88 min, 35mm); Gerd Oswald's CRIME OF PASSION (1957, 94 min, 35mm); Roy Rowland's WITNESS TO MURDER (1954, 83 min, 35mm); and Robert Siodmak's CRISS CROSS (1949, 87 min, 35mm).
Carlos Hugo Christensen's NO ABRAS NUNCA ESA PUERTA (Argentine Revival)
Saturday at 6:30pm (as a double feature with Christensen's SI MUERO ANTES DI DESPERTAR)

Prolific Argentine director Carlos Hugo Christensen adapts two of Cornell Woolwich's short stories in this noir thriller. The first episode, entitled "Somebody On The Phone," tells the story of two siblings, Raul (Angel Magana) and Luisa. Raul seeks to avenge his sister after she commits suicide over her gambling debts. The second episode, entitled "Hummingbird Comes Home," is about a blind woman, Rosa, and her niece, Maria, who live together and lament the day that Rosa's son, Daniel (Roberto Escalada), left home eight years ago. Unbeknownst to them, Daniel is now a conman, and after a robbery gone wrong at an antiques shop, he shows up at their door. Both episodes have themes of mistaken identity and vengeance. Family ties are strengthened and broken as the violence escalates. Both segments are bookended by a door opening and closing featuring a book with each episode's respective title on it. This motif reinforces the film's title and reveals the true message--if you open someone's closet to look for their skeletons, don't be surprised at what you find and what you can't take back. The opportunity to see NO ABRAS NUNCA ESA PUERTA and Christensen's companion film, SI MUERO ANTES DI DESPERTAR (also 1952), both on 35mm no less, should not be missed. (1952, 85 min, 35mm Restoration) KC
Robert Siodmak's THE SUSPECT (American Revival)
Sunday, 9:15pm

Charles Laughton gives one of his finest performances as the warmhearted tobacconist driven to murder in THE SUSPECT. Bertram Millhauser's screenplay often rehashes Philip Marshall's (Laughton) very ordinariness--in the opening sequences set in Edwardian London (on "an unpretentious street with a pretentious name"), Marshall greets his neighbors with pleasant chatter about the weather and lovingly wishes his son (Dean Harens) off as he leaves the nest. Naturally, when it is surmised that Marshall is the prime suspect in the murder of his domineering wife (Rosalind Ivan), an investigator of Scotland Yard (Stanley Ridges) muses that he is, "not a killer by nature, but a man like you and I." Director Robert Siodmak's obsession with failed heroes turning to extreme actions is illustrated brilliantly in Laughton's portrayal, where his dormant rage unburdens itself in moments that appear to startle even Laughton himself. Released a year before Fritz Lang's SCARLET STREET, THE SUSPECT similarly demonstrates a fascination with what could lead an essentially decent man to crime. As Laughton warns early in the picture, "It's the first step that counts, after that it all becomes too easy." (1944, 85 min, 35mm) EF
Robert Montgomery's RIDE THE PINK HORSE (American Revival)
Monday, 4:30 and 9:15pm

Though the film history oddity LADY IN THE LAKE--a bizarre Raymond Chandler adaptation made entirely in the first person--remains the best known of actor Robert Montgomery's directorial efforts, this moralistic noir (made the same year) is vastly superior. Montgomery plays a brusque, dickish ex-GI who travels to a small town in New Mexico to avenge the death of his best friend; once there, he meets an avuncular FBI agent and is befriended (more or less against his will) by well-meaning locals.  The uniformly strong cast have a great time with the flavorful dialogue (courtesy of Ben Hecht and Charles Lederer), but the real attractions here are the local color and Montgomery's palpable affection for border culture. (1947, 101 min, 35mm Archival Print) IV
Samuel Fuller's HOUSE OF BAMBOO (American Revival)
Tuesday, 4:30 and 9:20pm

Sam Fuller's eighth feature is a pulpy post-war noir played out in American occupied Japan, where a veritable nest of unsavory sorts peck at the sides of a civilization still scrambling to get back on its feet. Set in 1954 Tokyo, filmed in Cinemascope, HOUSE OF BAMBOO is a pureblooded noir, whatever the opening train robbery or the occasional travelogue tendencies may otherwise suggest. Robert Stack plays Eddie, an ex-con with a job prospect and a pinch of wanderlust who makes his way to the city only to find himself hopelessly entwined in both his dead comrade's circle of scoundrels and the police investigation slowly honing in on them. Eddie does what any aspiring antihero would do and shacks up with his friend's widow, all while courting favor from brash racketeer Sandy--a villain's villain, played by Robert Ryan--and it's not long before he's in well over his head. The grand finale is a manic game of cat and mouse through a city carnival, a setting not unheard of in the annals of noir, but Fuller's denouement paints a very literal vision of America's postwar playground abroad, a visually ridiculous but altogether serious showdown that stands perfectly on its own merits. J.R. Jones, Chicago Reader film critic and author of The Lives of Robert Ryan, will be in conversation with Alan K. Rode of the Film Noir Foundation before the 9:20pm screening. (1955, 102 min, 35mm) TJ
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Alfred Hitchcock's MARNIE (American Revival-Rare IB Technicolor Print)
Northwest Chicago Film Society at Northeastern Illinois University (The Auditorium, Building E., 3701 W. Bryn Mawr Ave.) - Wednesday, 7pm

MARNIE may very well be Alfred Hitchcock's most divisive film. The story of a neurotic, compulsive thief (Tippi Hedren) blackmailed into marriage by her employer (Sean Connery), MARNIE was maligned at the time of its release for its overt artificiality: Hitchcock employed painted backdrops and rear projection almost amateurishly; Hedren, never trained as an actress, was visibly uncomfortable in the title role; Bernard Herrmann's score (his last for Hitchcock) recycled familiar elements of his previous work. And yet these attributes contribute to the film's singular power, which exposes the artificiality of some of our most hallowed institutions (work, marriage, parenthood) against the primal dread they conceal. Dave Kehr has compared this to the work of Rainer Werner Fassbinder, and it's every bit as stylized and unnerving as such a statement would suggest. (1964, 131 min, 35mm IB Technicolor Print) BS
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Albert Lewin's PANDORA AND THE FLYING DUTCHMAN (American Revival)
Music Box Theatre - Saturday and Sunday, 11:30am

I first saw PANDORA AND THE FLYING DUTCHMAN under circumstances that were less than ideal but essentially appropriate. Asked to evaluate the color, density, and general appearance of two 35mm answer prints of the latest restoration, I saw random reels from the middle of the picture, each one shown twice. I came away not having a damn idea what the picture was about, but respecting the dopey conviction of its repeated incantations and one-of-a-kind mysticism. Truth be told, seeing the whole thing from start to finish a few months later didn't much help--it remained a willfully opaque experience, a collection of allusions in search of a plot. (The Rubáiyát of Omar Khayyám is sampled throughout, and curiously fused with Wagner's The Flying Dutchman.) Much has been made of Man Ray's contributions (the photographer was a friend of director Albert Lewin), but if PANDORA is a surrealist film, it represents a flabby, middle-aged strain of surrealism. There's no unconscious anywhere in sight--every detail has been deliberated within an inch of its life. The romance between Ava Gardner and James Mason is too mechanistic and rehearsed to qualify as l'amour fou. And yet... there's really nothing else like PANDORA, no film so confident in its high-flown gibberish, no commercial feature so indifferent to its audience. All the lines are spoken as if the players are in a trance--or perhaps just have guns pointed at their heads off-camera. (This film could inspire an excellent drinking game. I'd suggest taking a shot every time you hear "The moving finger writes, and having writ, moves on...") At its core, PANDORA is a solid mass of pretension and an incitement to delirium. It's a film that commands our compliant awe and terrified respect.  (1951, 123 min, 35mm) KAW
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Tim Burton's PEE-WEE'S BIG ADVENTURE (American Revival)
Music Box Theatre - Friday and Saturday, Midnight

By 1985, Paul Reubens' bow-tied TV man-child Pee-wee Herman had claimed a successful stage run, HBO series and specials, and sold-out performances at Carnegie Hall. The culmination of this popularity was PEE-WEE'S BIG ADVENTURE. The premise of the BIG ADVENTURE is simple: Pee-wee's beloved bike, an awesome cherry-red cruiser, has disappeared and, bindle in hand, Pee-wee sets across the country to recover it, come what may. In store for Pee-wee are phantom adventures on the American highway, a trip to the Alamo, and the hazards of a thousand other oddball incidents, leading to a roaring, studio-crashing finale that rivals the best of Mel Brooks. PEE-WEE'S BIG ADVENTURE is of course the feature debut of Tim Burton, who is perhaps the perfect directorial match for Reubens' funhouse comedy, and the film offers the curious objects, candy colors, and spoiled suburban malaise that have since become the hallmarks of Burton's all too successful career. Some of the comedy has become even more relevant and complex (and unintentionally ironic) as the years have gone by, such as when Dottie asks Pee-wee if he would like to take her to the movies: Pee-wee responds that there are things she doesn't know about him--"Things you wouldn't understand, things you couldn't understand...Things you shouldn't understand." The two do eventually end up at the movies together, but thankfully Dottie and the audience are spared a TAXI DRIVER moment. (1985, 90 min, 35mm) LN
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Joachim Trier's OSLO, AUGUST 31 (New Norwegian)
Doc Films (University of Chicago) - Friday, 7 and 9pm

Joachim Trier's OSLO, AUGUST 31, one of the most highly anticipated films from this year's Cannes festival, is a haunting elegy about a recovering drug addict struggling to reconnect with the world he once knew. Similar to the protagonist in Trier's first film REPRISE, Anders is an aspiring novelist, but he sabotages his literary potential by becoming hooked on heroin. The film takes place over a single day, during which Anders escapes from rehab under the pretense of a job interview. He floats around the city like a ghost, visiting old haunts and meeting with old friends. He perks up at the mention of Kurt Cobain's suicide, but is Anders already dead? It might be more apt to suggest that he inhabits a sort of spiritual limbo, a lost soul stuck at the crossroads between life and death. Trier fittingly adopts a grey, monochromatic color palette contributing to the film's somber stillness. Despite this tranquility, OLSO, AUGUST 31 has a sustained feeling of suspense, which is intensified by cinematographer Jakob Ihre's shaky, hand-held camera work. The film simultaneously elongates and condenses time (clocking in at only a hour and a half), emphasizing Anders' warped frame of mind. Unlike the edgy, often controversial films of the director's distant cousin Lars Von Trier whose work tends to concern societal dysfunction, OLSO, AUGUST 31 is an intimate meditation on the loneliness and isolation of one man. The film has drawn several comparisons to early Godard, but as Mark Jenkins suggests in his review, Bresson might be a more accurate reference point. Indeed, like Bresson's best films, OLSO, AUGUST 31 doesn't rely on dialog to elicit emotion--it cuts deep with mood alone. (2011, 96 min, 35mm) HS
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Tomm Moore's SONG OF THE SEA (New Animation)
Doc Films (University of Chicago) - Saturday, 7 and 9pm

Since the release of Walt Disney's 1937 masterpiece SNOW WHITE AND THE SEVEN DWARFS as one of the first animated feature length films, animation has come a long way. From cut-outs to cel shading to stop motion to CGI, the medium has evolved greatly. In this current era, traditional animation techniques are now eschewed for CGI due to its stylistic appearance, rapid production, and overall flexibility. Tomm Moore's SONG OF THE SEA is a throwback to the hand drawn Golden Age of Animation of Disney and others. An Irish folk tale that has a timeless feel and would fit well in any era, it is one of the most visually stunning animated films ever made. To be frank, gorgeous is an understatement for how breathtaking this movie is to behold. Every cel is a labor of love. Full of eye-popping spiral, circular, and fractal images, Moore's film is one to be experienced on the big screen in order to completely absorb his intoxicating efforts. Hayao Miyazaki, famous for MY NEIGHBOR TOTORO and SPIRITED AWAY among many others, is indisputably the greatest living master of hand drawn animation, and his influences are on full display in Moore's film with a couple slight nods to boot. After his previous 2009 work, THE SECRET OF KELLS, Moore has improved upon his skills in every way, from his refined characters to his rich and vibrant storytelling to his graceful art design. Moore is staking a claim as the next great animation auteur with SONG. If and when Miyazaki decides to retire for good and actually means it, audiences can rest assured that the torch is being passed into capable hands. One can only hope that his career is just as long and prosperous. (2014, 93 min, DCP Digital) KC
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Christian Petzold's PHOENIX (New German)
Music Box Theatre - Check Venue website for showtimes

Alfred Hitchcock's VERTIGO is masterful but decidedly farfetched, whereas Christian Petzold's PHOENIX is farfetched but still realistic, a contradiction that aptly defines this brilliant allegory of postwar guilt and reclamation. (Petzold openly acknowledges the film's relationship to the Hitchcock classic in many interviews.) It's about a Jewish woman--Nelly, played by Petzold's longtime muse, Nina Hoss--who undergoes facial reconstruction surgery after she's liberated from a concentration camp, presumably having been shot in the face by a N azi. She learns that all of her family and most of her friends are dead, and that her husband may have been the one who betrayed her to the Schutzstaffel. She looks for him anyway, only to find that he's working in a club called the Phoenix, a blood-red-lit American joint that gives the film its name. (The mythical bird that rises from its ashes is also owed some credit.) Though the surgery significantly altered her appearance, he notices her "resemblance" to his thought-to-be-deceased wife and recruits her to help him acquire her inheritance. Co-written with the late Harun Farocki, "it's a metaphorical movie and it's also not a metaphorical movie," to put it in his words, with the man's guilt (or lack thereof) representing that of a nation and Nelly's regeneration representing that of its oppressed people. On paper it seems absurd, similarly to many of the American genre films that inspired both Petzold and Farocki, but on screen, it's executed with surprising verisimilitude. (2014, 98 min, DCP Digital) KS
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The local shorts program Ripe Leeks: Forces Adrift (approx. 45 min, Digital Projection and 16mm) takes place at Filmfront (1740 W. 18th St.) on Saturday at 7pm. Screening are Fern Silva's TENDER FEET (2013) and WAYWARD FRONDS (2014), Alejandro Jimenez's UNTITLED (EPIC-FAIL) (2015) and ADORNOS SUBLIME (2013), Traci Hercher's COMPUTERS (IN OUR LIVES) (2014), Jason Ogawa's WHAT MAKES YOU SPECIAL (2015), and Ian Curry's 3x16mm projector work REMAINS TO BE SEEN (2013).

Black Cinema House (7200 S. Kimbark Ave.), Chicago Film Archives, and Experimental Sound Studio present Kinosonik #3: Industry, Design & Experimentation (approx. 46 min total, Digital Projection) on Sunday at 4pm. The program of shorts from CFA's holdings, with live scores by Mwata Bowden and Coppice (Noé Cuéllar & Joseph Kramer), includes: BLACK WHITE AND GRAY (Laszlo Moholy-Nagy, 1930, 6 min), INLAND STEEL COMPANY "MONOSTRESS" (Goldsholl Design & Film Associates, 1960s, 13 min), LICHT SPIEL NUR I (Robert Stiegler, c. 1967, 3 min), CHICAGO & NORTH WESTERN RAILWAY CO. "GREAT TRAIN ROBBERY" (Goldsholl Design & Film Associates, 1960s, 14 min), RHYTHM (Len Lye, 1957, 2 min), and TRAFFIC (Robert Stiegler, c. 1960, 8 min). Repeats Saturday, September 12 at The Nightingale.

Black World Cinema at the Studio Movie Grill Chatham 14 (210 W. 87th St.) presents Sérgio Graciano's 2013 Angolan film NJINGA, QUEEN OF ANGOLA (109 min, Digital Projection - Unconfirmed Format) on Thursday at 7pm.

The Chicago Cinema Society screens François Simard, Anouk Whissell, and Yoann-Karl Whissell's 2015 film TURBO KID (93 min, Digital Projection) on Friday and Saturday at 8pm and Sunday at 7pm at Chicago Filmmakers (5243 N. Clark St.).

Comfort Film at Comfort Station Logan Square (2579 N. Milwaukee Ave.) presents Jason Ogawa's new short film CYBERIA (Unconfirmed Running Time, Digital Projection) on Wednesday at 8pm, with Ogawa and cast members in person. Plus a live musical performance by A&E. Free admission.

The Wilson Abbey Theater (939 Wilson Ave.; enter through "Everybody's Coffee.") screens Canadian filmmaker Kevin Nikkel's 2014 documentary ON THE TRAIL OF THE FAR FUR COUNTRY (80 min, DVD Projection) on Saturday at 7pm, with Nikkel in person. Free admission.

TransReelization: An Evening of Film at Kinowerks Studio is on Saturday. This is a benefit event for Chicago House - TransLife Center; general tickets are $150 for a 7:30pm admit time and $500 for a 6pm VIP admit time. List of films screening not available. Check the website for additional information about benefits at each ticket level: THIS EVENT APPEARS TO BE SOLD OUT; check the website for confirmation, or to see if additional tickets are released.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Charles Chaplin's 1921 silent film THE KID (68 min, 35mm) on Wednesday at 1 and 7:30pm, with live piano accompaniment by David Drazin. Free Admission.

At the Gene Siskel Film Center this week: Peter Bogdanovich's 2014 film SHE'S FUNNY THAT WAY (93 min, DCP Digital) and Denys Arcand's 2014 Canadian film AN EYE FOR BEAUTY (102 min, DCP Digital) both play for a week; Stanley Kubrick's 1956 film THE KILLING (85 min, DCP Digital) is on Saturday at 3pm and Wednesday at 6:15pm; Robert Siodmak's 1949 film CRISS CROSS (87 min, 35mm) is on Saturday at 4:45pm and Monday at 6:15pm; and the Black Harvest Film Festival continues, with the feature films CHRISTMAS WEDDING BABY, THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION, COLLEGE WEEK, and 70 ACRES IN CHICAGO: CABRINI GREEN (all screenings sold out), the shorts programs " Made in Chicago II," "Black Noir," and "We Are Family." Check the Siskel website for complete details.

Also at the Music Box Theatre this week: Joe Swanberg's 2015 film DIGGING FOR FIRE (85 min) continues; Daniel Augusto's 2014 Brazilian film PAULO COELHO'S BEST STORY (112 min) is on Friday, Saturday, and Sunday at 5:10pm; and Sean Baker's 2015 film TANGERINE (88 min) is on Friday and Saturday at Midnight. Unconfirmed Formats.

Facets Cinémathèque plays Hubert Sauper's 2014 French/Austrian documentary WE COME AS FRIENDS (110 min, Unconfirmed Format) and Mora Stephens' 2014 film ZIPPER (112 min, Unconfirmed Format) for week-long runs.

The Chicago Cultural Center hosts the Cinema/Chicago screening of Ariel Winograd's 2012 Argentinean film TO FOOL A THIEF (105 min, Video Projection - Unconfirmed Format) on Wednesday at 6:30pm. Free admission.



The Museum of Contemporary Art Chicago presents Im Reich der Sonnenfinsternis (In the empire of the solar eclipse), an installation by Belgian artists Jos de Gruyter and Harald Thys, which is comprised of paintings, sculpture, photography, drawings and a 25 minute video entitled DAS LOCH (THE HOLE). On view through January 17.

The Zhou B Art Center (1029 W 35th St.) presents the exhibition -scape, curated by Mo Chen and Snow Yunxue Fu, through August 28. The mixed-media show includes several moving image works. The exhibiting artists are Jon Cates, Mo Chen, Snow Yunxue Fu, Philip Hanson, Max Hattler, Alan Kwan, and Philip Vanderhyden.

The exhibition Frances Stark: Intimism is on view at the Art Institute of Chicago through August 30. The show is a comprehensive survey of Stark's video and digital production.

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



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.

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CINE-LIST: August 28 - September 3, 2015

Patrick Friel

CONTRIBUTORS / Kyle Cubr, Eric Fuerst, Tristan Johnson, Liam Neff, Ben Sachs, Kathleen Sachs, Harrison Sherrod, Ignatiy Vishnevetsky, Kyle A. Westphal, Darnell Witt

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