Josh Fox’s follow-up to his Oscar-nominated precautionary nonfiction “Gasland” film is the run-and-gun, globe-girdling omnibus doc, “How To Let Go of the World and Love All the Things Climate Can’t Change,” in which we follow Josh Fox on his visits to areas around the world most wounded by the shifting fortunes of our environment. Read the rest of this entry »
By Ray Pride
Among Chicago’s many, many film and video festivals small or large, three claim the greatest longevity. At Lake FX Summit and Expo last month, a “Festival of Chicago Film Fests” event welcomed programmers of more than thirty independent festivals to make a case for their mission. Of the three longest-running on display, Chicago International, in its fifty-second year, claims the title of “the longest-running international competitive film festival in North America.” Reeling, now in its thirty-fourth year, is the second oldest gay film festival in the world. And then there’s Chicago Underground, at twenty-three, the oldest underground film festival on the planet. (I’ve been an observer of the festival since its start and also present the annual “Bar Talks” series where extended conversations between filmmakers and audiences are encouraged daily.) I caught up with Underground co-founder, artistic director and programmer Bryan Wendorf after the schedule was completed in May. We talk about what “underground” means in this century, honoree Tony Conrad, special guest (and underground expert) Jack Sargeant, as well as highlights from the features and shorts programs.
Tell me a story from early on when you realized the festival would go on, if not on and on, and on and on and on.
When Jay Bliznick first approached me about being a part of the original team that organized the first festival, I put him off for several months. Deep down, I knew that if I committed to being a part of this, I would be in it for the long haul and be involved with it for years. Then as we were planning that first event in 1993, it became clear that one member of that team wasn’t pulling their weight and was avoiding calls from the other organizers. We met together in my dining room and basically fired that person. That was a huge step, because it was someone we were all friends with, but as a working relationship it was a disaster. Making that difficult decision was the biggest step in realizing that we were serious. The other big step that pointed toward the festival surviving for the long haul was in our third year, when we shifted our model away from the film-fan convention model that had inspired Jay, and more closely resembled other film festivals. We also managed to get Roger Ebert to write a substantial piece for the Sun-Times, which raised both our profile and attendance. That gave us the drive to continue. Read the rest of this entry »
Less than grand Grand Guignol, “Tale of Tales” (Il racconto dei racconti), is an insistently gruesome fairytale shocker from modern Italian maximalist Matteo Garrone (“Gomorrah,” “Reality”). The gaudy, bawdy, ugly, disturbing excesses of “ToT” are strangely inert in this adaptation of three fairytales about three Renaissance royals in three kingdoms by seventeenth-century Neapolitan writer Giambattista Basile. Read the rest of this entry »
Master British filmmaker Terence Davies spent the years between 2000’s “House Of Mirth” and 2008’s “Of Time And The City” working on projects that did not come to fruition, including his adaptation of Lewis Grassic Gibbon’s 1932 “Sunset Song,” a novel beloved in Scotland for its portrait of rural families in the pre-World War I countryside. (“It is a dark and brooding novel about the Scottish peasantry, about the land in general and one family–The Guthries–in particular,” Davies writes.) Read the rest of this entry »
Radu Jude’s cruel, cunning “Aferim!,” a 35mm black-and-white Western set in the feudal Romania of 1835, is set in motion by a runaway Roma slave, and the moral clash that ensues in the episodic road-movie structure is no less pertinent in modern times. Read the rest of this entry »
Here’s an all-too-familiar familial battleground, well-known from decades of low-budget indie drama. Distant relation comes to town from California; Nebraska family has dark secrets that intertwine, overlap, blossom, choke. Mood and brood precede its unveiling and the detonation of the reunion. Read the rest of this entry »
Josh Kriegman and Elyse Steinberg’s nonfiction politico-horror-comedy “Weiner” begins with a quote ascribed to Marshall McLuhan: “The name of a man is a numbing blow from which he never recovers.” Followed by a jauntily scored credit sequence playing over former New York Congressman Anthony Weiner’s hot-tempered defense of 9/11 first responders, we’re positioned to take the man who brought himself down, twice, in nonsexual-sexual texting humiliation under the nom de spume of “Carlos Danger” as downright comedy of mortification. Read the rest of this entry »
Writer-director-star Julie Delpy’s sixth feature, “Lolo,” is a lightly likable, largely lowbrow slapstick comedy with dashes of eye-widening Oedipal terror, observing Violette, a hardworking single mother of forty (Delpy) who starts a new affair with a nice-guy “hick,” Jean-Rene (Dany Boon) while on a Biarritz spa vacation, before the hell-bent complication of her spoiled teenage son, Lolo (Vincent Lacoste) raises its curly head. Read the rest of this entry »
The Volcanic Anna Magnani
From Italy with gusto: twelve roles by one of the fiercest females in film history; often heartbreaking and heart-punching in a single breath or flash of the eyes.
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“Everyone is looking all the time; you just have to train yourself to look harder.” “Hockney” is a pleasingly colorful assay, made with permission but pretty much free of puffery, of the lengthy career of seventy-eight-year-old English creative force David Hockney, son of Bradford, man of Los Angeles, purveyor of Polaroids, brusher of iPads. Read the rest of this entry »