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:: Friday, FEB. 13 - Thursday, FEB. 19 ::


Doc Films (University of Chicago) - Thursday, 7pm (Escape) and 9:15pm (Mules)

The collaborations of Don Siegel and Clint Eastwood remain among the key films of the 1970s. Eastwood's fame allowed the journeyman Siegel to finally work with larger budgets, while Siegel's unfussy craftsmanship suggested a new career track for Eastwood. (The star's first director credit came with a ten-minute featurette about Siegel, shot on the set of THE BEGUILED.) Lewd, rude, and crude, their films together define the new boundaries of masculinity in post-Production Code Hollywood. And yet, by indulging unapologetically in Clint's ass-grabbing id, these films reveal new topographies of gender confusion--akin to wandering into the back room of a dingy gas station or the basement of an elk's lodge and hearing for the first time how men talk about women when they're alone. TWO MULES FOR SISTER SARA (1970, 114 min, 35mm) revolves around Eastwood's allegedly chivalrous capacity for self-control--he spends practically the whole movie reminding Shirley MacLaine that he'd fuck her here and now if she wasn't a nun. The truth about MacLaine's identity is as clear as the sunrise reflected through a dirty whiskey bottle, but no matter: The characters develop along pat lines, unsurprisingly once one recognizes the movie's ambition to blend the crusty romantic adventure of THE AFRICAN QUEEN with the programmatic cynicism of Leone's Man with No Name pictures. (But take a listen to Ennio Morricone's rad score, which presents a sonic approximation of a pony with dysentery.) As always in Siegel's films, there are good action sequences--particularly a tensely modulated scene of MacLaine learning how to remove an arrow from Clint's chest, followed immediately by a graphically sharp interlude that foists MacLaine up on a railway trestle. The screenplay, drafted by Budd Boetticher and polished by Albert Maltz, lacks the economy you might hope for, but there's plenty of opportunity for gruesome mayhem in the last reel. TWO MULES is ultimately minor, but enjoyable, Siegel; ESCAPE FROM ALCATRAZ (1979, 112 min, 35mm) is one of his best. The sex has been suppressed, sublimated into a fuzzy fear of prison rape. But ALCATRAZ is really about the marriage of a sensibility and a style--a thriller built on precise, unassuming competence. More effectively than Eastwood's own 'mystical' Westerns (HIGH PLAINS DRIFTER, PALE RIDER), ALCATRAZ withholds narrative closure. It's the kind of movie that makes everything else on the block look hopelessly ingratiating. ALCATRAZ proudly lacks the sociological dimension of Siegel's earlier prison picture, RIOT IN CELL BLOCK 11; it's a portrait of a post-political man. Eastwood has no past, no position, no objective aside from breaking out, but we might stop and wonder why: what could possibly await this hunk of dark matter on the outside? KAW
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Gene Siskel Film Center - Saturday, 3pm and Monday, 6pm

The film that is arguably the best artistic compilation of the political, intellectual, and cinematic currents of late-'60s French culture also happens to be, as the late-great Susan Sontag wrote, "perhaps Godard's greatest feature." TWO OR THREE THINGS I KNOW ABOUT HER was made the same highly creative year as two other works that many a cinephile would consider heavyweight contenders for the same title: WEEKEND and LA CHINOISE. While it clearly shares the genetics of both, TWO OR THREE THINGS is the most comprehensive of the three, packed full of brilliant analogies, from the universe in a cup of coffee (via extreme close-up) to a graveyard of consumer products to a representation of capitalism domesticating prostitution. Godard is, of course, thinking about movies and history--his two favorite topics. For him--as revealed more explicitly in his mid-'90s masterpiece HISTOIRE(S) DU CINEMA--they are one in the same. But here Godard takes his interest in the dual nature of cinema to unequaled heights. He not only asks whether this is that or that is this, but questions the very language we use to ask such questions. He muses: "How do you render events? How to say or show that at 4:10pm that afternoon, Juliette and Marianne came to the garage where Juliette's husband works? Right way, wrong way--how can one say exactly what happened? Of course, there is Juliette, her husband, the garage. But are these the words and images to use? Are there no others? Am I talking too loud, looking too close?" One could say that it's a movie that knows it's a movie that knows it's a movie more than any other movie. (1966, 85 min, 35mm) KH
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Alex Cox's SID AND NANCY (American Revival)
Music Box Theatre - Wednesday, 7:30pm

In SID AND NANCY, Alex Cox discovers an oft-imitated, never-equaled recipe for the rock biopic: two parts THIS IS SPINAL TAP and one part PANIC IN NEEDLE PARK. In retrospect, it took balls (or callous indifference) to make a slapstick parody out of the tragedy of Sid Vicious and Nancy Spungen, whose bodies had hardly been in the ground for five years when production began. But Cox's tragicomedy is so good that it's hard to fault him for it. Besides, the video evidence suggests that the real Sid and Nancy were, if anything, more ridiculous and less charming (albeit much younger) than their brilliant portrayals by Gary Oldman and Chloe Webb would suggest. Cox's film does not portray Sid as a serial abuser, nor does it explore the theory, which gained traction with 2009's WHO KILLED NANCY?, that Sid was actually innocent. Rather, it portrays him as a sort of unwitting agent of destruction, put here on this earth to destroy Nancy, himself, the Sex Pistols, and perhaps punk as a whole. In Cox's telling, Sid seems a sort of punk Zen master, too punk to actually play his instrument, just as some of the most celebrated Zen masters were too Zen to actually meditate. In the end, having achieved a higher state of consciousness through their complete indifference to their bodies, careers, and relationships, the couple severs their final attachment to this life--their bond to each other--and ascends to a heaven realm (or at least a happy limbo). Or maybe this reading is all wrong and Sid and Nancy are meant to embody the wasted revolutionary potential of punk. A methadone clinic worker's sobering speech in the middle of the film supports this interpretation: "You guys have no right to be strung out on that stuff. You could be selling healthy anarchy." Does the film romanticize heroin addiction and murder/suicide or bemoan them? Celebrate punk or mock it? Both and both. Part of the occasional Sound Opinions series, hosted by music critics Greg Kot and Jim DeRogatis. (1986, 112 min, 35mm) ML
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Michael Bay's ARMAGEDDON (American Revival)
Music Box Theatre - Sunday, Noon

With his first two features, 1995's BAD BOYS and 1996's THE ROCK, Michael Bay showed himself already a competent director-for-hire of action/suspense films, but those early films were juvenile works, demonstrating his prodigious talent but making only scant use of it. ARMAGEDDON, his third film is a troubled, transitional work that finds Bay moving from the skilled craftsmanship of his earlier work towards the full flowing of his artistry to come in 2005's THE ISLAND, 2013's PAIN & GAIN, and 2014's TRANSFORMERS: AGE OF EXTINCTION, films that set him out as one of the great filmmakers of his generation. But ARMAGEDDON is a work with one foot firmly in the past and another groping for, and not securely finding, the sure footing of the future. In reductive summary, it is a movie in which the fate of the world depends upon a group of scrappy oil-rig drillers being able to train as astronauts, launch themselves into space, land on a giant rock careening towards Earth at breakneck speed, and insert hydrogen bombs inside it before it collides with our planet. But what matters most is the development in Bay's discontinuous style, a maturing that for the first time in his career finds him experimenting in ways to meld his visual complexity with thematic and narrative concerns that previously seemed of no interest to him. The world is presented to us in ARMAGEDDON as under threat, but, crucially, what is it exactly that threatens us? Within the diegesis, it's clear that there's an asteroid approaching the planet, but the very first glimpses we get of that asteroid present it not as a thing but as a living presence with active malevolence. This is supported many times throughout the film as the rock is shown actively responding to character actions, having particular, expressive sounds, becoming enraged, and so on. Moreover, the almost uncountable number of scientific inaccuracies, compounded and added to many times during production, make unmistakable that the fictional world constructed in the film cannot be ours. We know that in this world, inanimate objects actively express menace towards human beings, and that the experience of strong human emotion is correlated to shifts in spatial relationships, changes in the tempo of movements, and strange, disorienting juxtapositions. In Bay's cinema, in distinction to normal cinematic practice, rather than being causes by those shifts, those stylistic movements and tonal changes, in fact, are the very causes themselves of character emotions. The titular armageddon then is not the death of the human race or the destruction of the world, but rather the normalizing of cinema. ARMAGEDDON has classical Hollywood style literalized as the Death of the World, and the life the characters are struggling to preserve as the discontinuous, explosive, incoherent style of the film itself. Old world cinema, given voice-over presence by Moses himself in the opening moments of the film, is trying to destroy us, and only Michael Bay's plucky band of cinematic engineers can save us. Accompanied by a lecture by the Field Museum's Philipp R. Heck (Associate Curator of Meteoritics and Polar Studies) and James Holstein (Collection Manager of Meteoritics and Physical Geology). (1998, 150 min., 35mm) KB
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MCA Screen: Jennifer Reeder (New Experimental Narrative)
Museum of Contemporary Art - Tuesday, 6pm (Free Admission*)

When "experimental" usually means "non-narrative," local filmmaker Jennifer Reeder's recent work reminds us that narrative, cinema's most traditional form, can also be subversive, subtle, and ethereal. Weaving elements from teen episodic TV, popular music, and cinematic melodrama, she creates enigmatic studies of women in states of discovery, distress, and change. Reeder, who writes and directs her own work, leaves large parts of her narratives obscured, relying more on a darkly funny, performative present to engage us rather than a progression of plot points headed toward certain resolution. The evening will include her award winning short A MILLION MILES AWAY (2014), about a girls' choir and their substitute teacher. Also screening are two films from Reeder's sonically ambient and cinematic "The Forevering Trilogy" (SEVEN SONGS ABOUT THUNDER, 2010, and I WILL RISE IF ONLY TO HOLD YOU DOWN, 2011), and GIRLS LOVE HORSES (2013). Reeder in person. (2010-14, approx. 80 min total, Digital Projection) CL
*Free with museum admission (museum admission is free for Illinois residents on Tuesdays)
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Alfred Hitchcock's NORTH BY NORTHWEST (American Revival)
Doc Films (University of Chicago) -- Friday, 7 and 9:45pm and Sunday, 1:30pm

An urbane gentleman is pursued by a sinister organization headed by a cultured villain while simultaneously shadowed by a gorgeous female spy. That's the basic setup for NORTH BY NORTHWEST--and for a sizeable portion of the James Bond series. What's under acknowledged is that Hitchcock, and specifically this masterpiece of playful paranoia, 1950s style, has acted as a lasting and flexible template for 007's cinematic adventures. James Mason's ultramodern, mountaintop house, as imagined by production designer Robert Boyle, uncannily anticipates many of the fantastic evil lairs designed by Ken Adam for Bond villains (especially Goldfinger). And doesn't the film's famous closing scene remind you of many 007 double-entendre finales? But where NORTH BY NORTHWEST moves into deeper territory is on the question of identity. Not only is no one else who you thought they were, but you yourself are not who you thought you were. Yet in Hitchcock's hands such a weighty existential theme sounds like the best time a guy could have. (1959, 131 min, 35mm) RC
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Agnès Varda's THE GLEANERS AND I (Documentary/Experimental Revival)
Gene Siskel Film Center - Friday and Tuesday, 6pm

Agnès Varda, arguably the first filmmaker of the French New Wave, builds an easy rambling and revelatory road movie in THE GLEANERS AND I, an essay film about the historical French custom of gleaning, the act of collecting crops left to waste after the harvest. Varda takes to the motorways with her digital camera and captures gleaning as it is in contemporary French life. She interviews potato farmers, crust punks, gypsies, grocers, justices, vintners, and artists, illuminating lots of sympathetic thematic tensions along the way. Varda doesn't linger in interviews; she brings us only snippets of the people she speaks with, capturing their charm in a few juicy clips. Varda uses GLEANERS to consider her own aging, revolving technology, the ethics of waste, and, probably most poignantly for viewers in 2013, the sliding economic realities that brought gleaning back as a common practice. SAIC professor Daniel Eisenberg lectures at the Tuesday screening. (2000, 79 min, 35mm) CL
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Tomás Gutiérrez Alea's MEMORIES OF UNDERDEVELOPMENT (Cuban Revival)
Black Cinema House (7200 S. Kimbark Ave.) - Thursday at 7pm (Free Admission*)

What better way to celebrate the United States' recent re-establishment of diplomatic relations with Cuba than by watching the film considered the greatest ever produced under Fidel Castro's regime? Director Tomás Gutiérrez Alea is probably best known in the U.S. for his penultimate film, the innocuous gay love story STRAWBERRY AND CHOCOLATE (released here by Miramax in 1994) but his most acclaimed work is MEMORIES OF UNDERDEVELOPMENT, a masterpiece of Godardian self-reflexivity from 1968; anyone seeking to understand the state of the contemporary Cuban soul would do well to check out this masterpiece, the unforgettable chronicle of Sergio Corrieri (Sergio Carmona Mendoyo), a bourgeois intellectual who chooses to remain in his native Havana from the pre-Revolution era through the rise of Castro, the Cuban Missile Crisis (which prompts his family into exile), and beyond. Like a Latino version of the characters Marcello Mastroianni specialized in playing for Federico Fellini, Sergio lives an empty, decadent existence, pursuing hedonistic affairs with young women in a vain attempt to recapture his former happiness. Far from being the work of Communist propaganda that one might expect from a Cuban film of this era, however, MEMORIES is instead a deeply ambiguous character study and a brilliantly fragmented work of cinematic modernism. Beautifully shot in black and white, it looks and sounds like a kissing cousin of the contemporaneous French New Wave while also functioning as a vivid portrait of a specific time and place in Cuban history. (1968, 97 min, DVD Projection) MGS
*Free admission, but limited seating; RSVP at
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Michael Curtiz's CASABLANCA (American Revival)
Music Box Theatre - Saturday, 1pm

A strong candidate for the most entertaining movie ever made, CASABLANCA irresistibly weds the theme of self-sacrifice for a greater good to a love story set against the backdrop of wartime intrigue. Mix in Humphrey Bogart and Ingrid Bergman at their most iconic, deliciously witty dialogue, a cast of colorful supporting characters played by unforgettable character actors and the able craftsmanship of director Michael Curtiz and you have Exhibit A for anyone looking to understand the genius of Hollywood's old studio system. You must remember this: Bogie as Rick Blaine, the American nightclub owner living in Morocco, whose cynical exterior conceals a sentimental heart; Bergman as Ilsa Lund, the Norwegian woman he loved and lost in pre-World War II France, only to find again under less-than-ideal circumstances in the Vichy-controlled title city. Out of all the gin joints in the world, why did she have to walk into his?! Thank God for the sake of movie lovers that she did. They'll always have Paris--and we'll always have CASABLANCA. Preceded by a Valentine's Day Sing-A-Long. (1942, 102 min, 35mm) MGS
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Jean-Luc Godard's ALPHAVILLE (French Revival)
Gene Siskel Film Center - Saturday, 4:45pm

The story goes that Godard originally wanted to call ALPHAVILLE "Tarzan vs. IBM," but as Jonathan Rosenbaum has pointed out, that title is far more apropos to Boorman's POINT BLANK (released the same year as LA CHINOISE). ALPHAVILLE could be better described as "Murnau vs. Lang vs. Welles vs. Cocteau vs. Borges," since the influence of each of these luminaries are made to duke it out through Godard's sci-fi city of the eternal now as surely as Lemmy Caution must do battle with the agents of the all-powerful computer Alpha 60, controlling its subjects with its unforgettable voice. A love letter to expressionism and pulp--which like every Godardian love letter contains no small amount of criticism--ALPHAVILLE is alternatively off-putting in its esotericism and accessible in its broad and familiar genre gestures; and its groundbreaking work demonstrating that the future is always located just a little bit behind us cannot be undervalued. Starring Anna Karina and Eddie Constantine, reprising his perennial role as hardboiled secret agent Caution, as well as Akim Tamiroff and Howard Vernon--double agents for Welles and Lang, respectively. The woozily romantic score is by Paul Misraki, hardworking composer for the previous Lemmy Caution films. (1965, 99 min, DCP Digital) JD
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Julie Dash's DAUGHTERS OF THE DUST (American Revival)
Black Cinema House (7200 S. Kimbark Ave.) - Friday at 7pm (Free Admission*)

The narrator of Julie Dash's DAUGHTERS OF THE DUST is more than just a character in the film, but a symbolic representation of the film's message. The unborn child who tells the story of the Peazant family in their last days before migrating north is as much a reflection of the past as she is of the future; all that has come before her is as inherent to the family as the very blood within their veins, and it's that history which will propel them along the trying and changing times. The Peazant family are inhabitants of the southern Sea Islands and members of its Gullah culture, having preserved the identity of their African heritage in the face of slavery and post-war oppression. Before the move, the matriarch of the Peazant family contemplates her native beliefs while the family's younger members overcome their personal struggles. Rape and prostitution have afflicted several female members of the family, and the scorn from both society and their own clan present the unique obstacle of African American women within an already disparaged race. Dash uses magical realism not only in the story, but also as a filmmaking device that is reflective of the characters' culture. It was the first feature-length film by an African-American woman to receive theatrical release, and its historical context and female-oriented storyline set it apart from both other films of the time and other films put out by fellow members of the L.A. Rebellion. (1991, 112 min, DVD Projection) KS
*Free admission, but limited seating; RSVP and info at

Mark Waters' MEAN GIRLS (American Revival)
Doc Films (University of Chicago) - Tuesday, 7pm

Set just a short drive away in nearby Evanston, the highly quotable MEAN GIRLS is a highly satirical look at the awkward, cliquish, hormone-crazed minefield that is high school. Sixteen year-old, fish out of water Cady Heron (Lindsey Lohan) moves to Illinois after spending the previous twelve years in Africa with her parents who were on a zoological research study. Upon her arrival, she enrolls at North Shore High School and quickly learns that making new friends is nothing like it was halfway across the world. During her first math class taught by the affable but down on her luck Ms. Norbury (Tina Fey), Cady makes friends with social outcasts Janis (Lizzy Caplan) and Damien (Daniel Franzese) who teach her about navigating the school's social hierarchy. At lunch, Cady is approached by The Plastics to join their group. Consisting of queen bee Regina George (Rachel McAdams), Gretchen Wieners (Lacey Chabert), and Karen Smith (Amanda Seyfried), The Plastics are North Shore's equivalent of teen royalty and have very strict rules on how to dress and act. As Cady becomes friendlier with them, Janis and Damien fear she will become one of them. They decide to have her pretend to join the group as a joke and destroy them from within as revenge for all the victimizing they have caused. As time progresses, Cady slowly goes from pretending to be Plastic to actually becoming Plastic and risks losing her only true friends. As the backstabbing intensifies and secrets are revealed, the whole school is turned upside down. This film is a perfect look at teenage cliques and the damaging effects they can have on everyone, school staff included. A cult classic with a lasting legacy largely thanks to Tina Fey's well-written script, MEAN GIRLS is a painfully accurate representation of how fun and cruel high school can truly be. (2004, 97 mins, 35mm) KC
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The Conversations at the Edge series at the Gene Siskel Film Center presents Robin Deacon: White Balance: A History of Video (2013-15, approx. 60 min, live performance with analog and digital video) on Thursday at 6pm.

Black Cinema House (7200 S. Kimbark Ave.) and South Side Projections have re-scheduled their event (earlier scheduled date cancelled due to the blizzard) When Harold Washington Beat the Machine (previously titled "Remembering Harold Washington") for Sunday at 4pm. Screening are RUNNING WITH THE MAYOR (Community TV Network, 1984, 12 min, DVD Projection), WHY GET INVOLVED (Jean Young, 1983, 30 min, DVD Projection), and a re-edited excerpt (with some additional footage) from CHICAGO POLITICS: A THEATRE OF POWER (Bill Stamets, 1987, 40 min, Unconfirmed Format), with Javier Vargas, who worked on RUNNING WITH THE MAYOR as a student, Bill Stamets, John Blanton, videographer of WHY GET INVOLVED, and others TBD in person. Free admission, but limited seating; RSVP at

Constellation (3111 N. Western Ave.) and The Nightingale present Running Shorts! in the ongoing Run of Life Experimental Documentary series on Monday at 7pm. Screening are: Gordon Quinn, Jerry Blumenthal, and Peter Kuttner's WINNIE WRIGHT, AGE 11 (1974, 28 min), Deborah Stratman's HACKED CIRCUIT (2014, 15 min), Kevin B. Lee's TRANSFORMERS: THE PREMAKE (2014, 20 min), Michelle Nahamad's THE SHOCHET (2014, 4 min), Nick Harvey's HARKA, A SELF-SUSTAINING NEPALESE ORPHANAGE (2012, 3 min), and Shelly Silver's 5 LESSONS AND 9 QUESTIONS ABOUT CHINATOWN (2009, 9 min). All Digital Projection. Kevin B. Lee in person.

Roots & Culture (1034 N. Milwaukee Ave.) presents Double Exposure: Lyra Hill and Daviel Shy on Sunday at 7pm, with Hill and Shy in person. Screening are: Lyra Hill's HOUSE FUCK (2010, 16mm), THE MYSTIC (2011, 16mm), UNTITLED (TIMES FOUR) (2011, Super-8mm on Video), UZI'S PARTY (Trailer) (2015, 16mm on Video), BREATH WITH CUBE (2015, 3D 16mm Projection and Performance), and Daviel Shy's FELLINI (2008, Video), DAS BUFFET IS ERÖFFNET (2013, Super-8mm on Video), THE TYRANT (2013, Super-8mm and 16mm on Video), LADIES ALMANACK (Teaser) (Unconfirmed Year, Super-8mm on Video). Approx. 62 min total.

Chicago Filmmakers(5243 N. Clark St.) presents An Evening with Lesbian Filmmakers: Chicago's Own TelloFilms, with filmmakers Julie Keck and Jessica King in person, as part of the Dyke Delicious series on Saturday at 8pm (Social Hour at 7pm). (The program will repeat on February 21 at Doc Films; see next week's list.)

Black World Cinema at the Studio Movie Grill Chatham 14 (210 W. 87th St.) presents Black Radical Imagination, a shorts program curated by Erin Christovale and Amir George. Screening are: AFRONAUTS (Cristina De Middel), THE CHANGING SAME (Cauleen Smith), THE GOLDEN CHAIN (Buki Bodunrin and Ezra Claytan Daniels), and MAE'S JOURNAL (Amir George). (Unlisted Years, approx. 32 min total); Barbara Jones Hogu's 2010 documentary short THE BLACK AGE OF COMICS (10 min); and Jonathan Gayles' 2012 documentary WHITE SCRIPTS AND BLACK SUPERMEN: BLACK MASCULINITIES IN COMIC BOOKS (52 min). The screening is on Thursday at 7pm. Video Projection - Unconfirmed Formats.

The Poetry Foundation (61 W. Superior St.) presents Love, What Language Do You Speak?: Poetry, Music, and Film on Valentine's Day on Saturday at 5pm. The event includes readings, music, and the short German animated film PANTOFFELHELDEN (A SLIPPERY TALE; Susanne Seidel, 2004, 8 min, Unconfirmed Format). Free admission.

Grace Place (637 S. Dearborn St.) screens Ryan Coogler's 2013 film FRUITVALE STATION (85 min, Video Projection - Unconfirmed Format) on Thursday at 5:30pm. Hosted by the National Lawyers Guild Chicago.

Also at the Gene Siskel Film Center this week: Spike Lee's 2014 film DA SWEET BLOOD OF JESUS (123 min, DCP Digital) plays for a week; Mohammad Rasoulof's 2013 Iranian film MANUSCRIPTS DON'T BURN (125 min, DCP Digital) screens on Friday and Wednesday at 6pm, Sunday at 4:45pm, and Monday at 7:45pm; Isao Takahata's 2013 Japanese animated film THE TALE OF THE PRINCESS KAGUYA (137 min, DCP Digital) returns for a week's run, in both subtitled Japanese and English-dubbed versions (check the Siskel website for a breakdown); Reza Mirkarimi's 2014 Iranian film TODAY (87 min, DCP Digital) is on Saturday at 6:45pm and Sunday at 3pm; and Branislav "Brane" Bala and Nemanja Bala's 2014 film LOVE HUNTER (86 min, DCP Digital) is on Saturday and Tuesday at 8:30pm and Wednesday at 8:45pm, with co-director Nemanja Bala and actress Jelena Stuplijanin in person on Saturday and Tuesday.

Also at Doc Films (University of Chicago) this week: Alain Resnais' 1959 film HIROSHIMA MON AMOUR (90 min, DCP Digital) is on Saturday at 7 and 9pm and Sunday at 4:15pm; Robert Machover and Norman Fruchter's 1966 documentary TROUBLEMAKERS (54 min, 16mm) is on Sunday at 7pm; Jacques Doillon's 1999 film PETITS FRÈRES (92 min, 35mm) is on Monday at 7pm; Jennifer Siebel Newsom and Kimberlee Acquaro's 2011 documentary MISS REPRESENTATION (85 min, Unconfirmed Format) is on Tuesday at 4pm; and Federico Fellini's 1965 film JULIET OF THE SPIRITS (137 min, 35mm) is on Wednesday at 7 and 9:45pm.

Also at the Music Box Theatre this week: Gabe Polsky's 2014 documentary RED ARMY (76 min), Jean-Pierre and Luc Dardenne's 2014 film TWO DAYS, ONE NIGHT (95 min), and Andrey Zvyagintsev's 2014 Russian film LEVIATHAN (140 min) all continue; The 2015 Oscar Nominated Documentary Shorts screen this weekend (Program B is on Saturday at Noon; Program A is on Sunday at Noon); Rob Reiner's 1987 film THE PRINCESS BRIDE (98 min) is on Friday at 9:30pm and Saturday at 7:30 and 10:30pm (this is an "interactive" screening with prop bags, a pre-show costume contest, and more); Léon Poirier's 1928 French silent film VERDUN, VISIONS D'HISTOIRE (160 min, DCP Digital; Restored Version) is on Thursday at 7pm, with a piano reduction of the original score performed live by French musician Hakim Bentchouala-Golobitch; and Joseph Zito's 1984 film FRIDAY THE 13TH: THE FINAL CHAPTER (91 min, 35mm) is on Friday at Midnight. Unconfirmed Formats except where noted.

Block Cinema (Northwestern University) screens Vishal Bhardwaj's 2013 Bollywood film HAIDER (160 min, DCP Digital) on Friday at 7pm; and Musa Syeed's 2012 film VALLEY OF SAINTS (82 min, DCP Digital) on Thursday at 7pm.

At Facets Cinémathèque this week: Andrew T. Betzer's 2014 film YOUNG BODIES HEAL QUICKLY (102 min, Unconfirmed Format) plays for a week's run; Tim McCann's 2013 film WHITE RABBIT (90 min, Unconfirmed Format) screens daily at 7:30pm in the small theater; and Marcel Carné's 1953 film THÉRÈSE RAQUIN [aka THE ADULTRESS] (102 min, DVD Projection) is on Sunday at Noon, followed by live performance excerpts from the Chicago Opera Theater's current production of Thérèse Raquin.

The Silent Film Society presents Edward Sedgwick and Buster Keaton's 1928 silent comedy THE CAMERAMAN (69 min, Unconfirmed Format) on Saturday at 6pm at Saint John Cantius Church (825 N. Carpenter), with live organ accompaniment by Jay Warren.

The Goethe-Institut Chicago (150 N. Michigan Ave., Suite 200) screens Konrad Wolf's 1964 film THE DIVIDED HEAVEN (113 min, Video Projection - Unconfirmed Format) on Thursday at 6pm. Free admission.

The Alliance Française (54 W. Chicago Ave.) presents a double feature of Cédric Klapisch's 2002 film L'AUBERGE ESPAGNOLE (122 min, Video Projection - Unconfirmed Format) at 6pm and his 2005 film RUSSIAN DOLLS (125 min, Video Projection - Unconfirmed Format) on Wednesday.

The Italian Cultural Institute (500 N. Michigan Ave.) screens Federico Fellini's 1953 film I VITELLONI (103 min, Video Projection - Unconfirmed Format) on Tuesday at 6pm. Free admission.

The Raven Theatre (6157 N. Clark St.) screens Michael Wilson's 2014 made-for-TV film THE TRIP TO BOUNTIFUL (Unconfirmed Running Time, Video Projection - Unconfirmed Format) on Sunday at 7pm. Introduced by UCSB professor Anna Everett. Free Admission.



David Weinberg Photography (300 W. Superior St., Suite 203) presents 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. Opening reception on Friday from 5-8pm. Runs through May 8.

Comfort Station Logan Square (2579 N. Milwaukee Ave.) continues Kate McQuillen's multi-media installation Old Flame through February 22. The installation is viewable only from the outside of the building, through the windows.

Threewalls (119 N. Peoria St., Suite 2C) continues Jaime Davidovich: Outreach 1974-1984 through March 21. The exhibition, which features video and television work by the Argentinean artist, is comprised of three programs of work, which will rotate over the course of the show; check for the schedule.

Melika Bass' solo exhibition The Latest Sun Is Sinking Fast, an immersive multi-channel video and sound installation, continues through April 19 at the Hyde Park Art Center.

Gallery 400 (400 S. Peoria, UIC) continues the exhibition Visibility Machines: Harun Farocki and Trevor Paglen through March 14.

Anri Sala's 2003 digital video installation Mixed Behavior (8 min loop) runs through March 1 at the Art Institute of Chicago.



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 thePortage 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, with the closing of the Patio Theater. They plan to do occasional screenings as opportunities arise.

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CINE-LIST: February 13 - February 19, 2015

Patrick Friel

CONTRIBUTORS / Kian Bergstrom, Rob Christopher, Kyle Cubr, Jeremy M. Davies, Kalvin Henely, Christy LeMaster, Mojo Lorwin, Kathleen Sachs, Michael G. Smith, Kyle A. Westphal, Darnell Witt

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