Courtesy Nicolas Genin via Creative Commons license.
By Troy Pieper
Growing up in Modesto, California, George Lucas fell in love with building cars and “didn’t do that well in high school.” After surviving a car crash while racing in 1962 the elder filmmaker had a “touch of understanding about the world” that would serve him through the long career ahead of him. “Life is an illusion. You make it be what you want it to be, but you have to actually believe it… maybe there’s a reason why I survived.”
The grey-bearded survivor gave a talk to students at a closed event on April 14 at the School of the Art Institute, interviewed by Walter Massey, the school’s president, as well as a theoretical physicist. Lucas said it was chance that led him to the University of Southern California, which was one of the country’s first film schools. Lucas’ first film, a sixty-second montage of iconic 1960s youth culture photographs set to a percussive soundtrack, won at film festivals around the country. “I thought, hey I know how to do this,” Lucas said. He called his fellow students “misfits” because their chances of working in the Hollywood of that era were zero. But that was all right with Lucas and his fellow misfits: ”All we wanted to do was make movies; we weren’t interested in a career.”
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Former Chicagoan Joe Angio’s long-in-the-making sophomore documentary, “Revenge of the Mekons” is a lean, cheery ninety-five-minute portrait of almost four decades in the lives and careers since the 1977 formation of the vital, genially haunted punk-to-rock band that Lester Bangs called “the most revolutionary group in the history of rock ’n’ roll.” Angio’s conversations with frontman Jon Langford and frontwoman Sally Timms, among other members of the group, are lucid about their ongoing rise to nearly the middle. (As Timms retorts from stage to a heckler mentioning “sell-outs,” “Sold out is a term that never comes into our lives.”) “ROTM” is humble, raggedy and proud, just like the endlessly productive, self-reinventing band itself. Read the rest of this entry »
By Ray Pride
Coinciding with the City of Chicago’s jam-packed Lake FX Summit & Expo, the seventh year of CIMMfest (Chicago International Movies and Music Festival) lavishes their most expansive, ambitious programming yet, a bold first flush of spring movie festivals (Chicago Underground) and music festivals (You don’t have tickets already? Sorry.) We asked CIMMFest executive director Dave Moore about the scope of this year’s edition.
CIMMfest, especially combined with Lake FX, is starting to look like South by Southwest, which now sprawls across several weeks in Austin.
What’s inspiring about SXSW is the vast number of creative people together in one place, allowing for collaboration in artistic pursuits as well as connecting them to help on the business end. CIMMfest should continue to grow toward those goals. Like SXSW, we support as much local art as possible while bringing in great films and musicians from around the world. In short, supporting artists and creating an inspiring weekend for artists and their fans is where we want to be like SXSW. Read the rest of this entry »
The second of a series of updates on Film 50 subjects.
Filmmaker and visual artist Melika Bass’ newest work, “The Latest Sun Is Sinking Fast,” has its opening Sunday, January 18, a site-specific installation at the Hyde Park Art Center’s large Kanter-McCormick Gallery and runs through April 19. “The show has some creepiness and humor in it,” Bass says of her immersive, cinematic, multi-channel video and sound installation. The HPAC writes that the work combines “macabre and magical elements, revealing a fictional, fractured Americana.”
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By Ray Pride
Michael Mann’s “Blackhat” is not Ridley Scott’s “The Counselor,” but it’s in the same mulish, rarified league.
While the 2015 Oscar announcements led to much journalistic handwringing, online and off, with a dearth of nominations for women and people of color—overlooking the systemic issue of the dearth of mainstream movies being financed and produced for women and people of color—there’s not as much clamor about the handful of white male filmmakers who are presently productive into their eighth decade.
Michael Mann turns seventy-two in February, Sir Ridley Scott is seventy-seven, and while we’re at it, Jean-Luc Godard is eighty-four. “Blackhat,” “The Counselor” and “Farewell to Language” are all discernibly, definitively, obstinately, obdurately, the work of old men. Artists of a certain age, to be sure, but also personal, auteurist, in the most classic fashion. Late films by Alfred Hitchcock have been a subject for such discussion for decades, and Entertainment Weekly’s Mark Harris tweeted that “Blackhat” may well be Mann’s “Marnie,” that is, a movie that at first glance seems hermetic, compacted, a concatenation of images, fixations and stylistic devices. Read the rest of this entry »
In the first of a series of updates on Film 50 subjects, Newcity Film premieres the gently disturbing video for filmmaker-musician Thomas Comerford’s “How To,” directed by Jerzy Rose and Halle Butler. (Their 2014 Film 50 profile is here.) Comerford will perform with Luke Redfield and Dust Bunnies at the Flatiron Arts Building, 1579 North Milwaukee, third floor, on Wednesday, January 14 at 9pm.
RAY PRIDE: What led to this collaboration?
THOMAS COMERFORD: Jerzy is a former student of mine, as well as a friend in the community of artists and musicians I see around town on a regular basis. When preparing to release my new LP, I approached an array of friends from this group, which also included, as you know, Carolyn Faber and Chris Sullivan. The idea was to find people who were into the music and have them create a kind of motion picture “response” to the music. It was left completely open as to how anyone might approach it.
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“Birdman (The Unexpected Virtue of Ignorance)”
By Ray Pride
Along with a hundred-plus features and shorts from around the world, the fiftieth edition of the Chicago International Film Festival includes notable appearances and master classes, including Michael Moore presenting his restored version of “Roger & Me,” a film that was nearly lost; producer-turned-online distributor Ted Hope talking about his memoir-manifesto, “Hope For Film,” and Oliver Stone, with a director’s cut of “Natural Born Killers” and “Alexander: Ultimate Edition,” a fourth version of his 2004 epic, reportedly with a warm handful of homoerotic content restored to its 207-minute duration. An Isabelle Huppert tribute will trail four features, including Michael Haneke’s “The Piano Teacher” and Claire Denis’ “White Material,” both shown in 35mm. Kathleen Turner will tell her truth, and eighty-one-year-old Hollywood Renaissance bright light Bob Rafelson will show his 1990 exploration epic “Mountains of the Moon” before presenting a master class to Columbia students, a rapscallion of a raconteur when I heard him speak a few years ago.
Notable locals include the world premiere of Chicago filmmaker Michael Caplan’s long-in-the-works “Algren” bio, as well as up-and-coming local auteur Stephen Cone’s “This Afternoon,” mingling his favored themes of sex and religion. Read the rest of this entry »
Danny McCarthy at Rome’s Campo de’ Fiori market/Photo: Dan Finnen
By Brandie Madrid
When Lucia Mauro was a writer for Newcity, she often conducted interviews at the Bourgeois Pig Cafe, so I asked her to join me there to talk about her writing-directorial debut, “In My Brother’s Shoes.” She speaks warmly and passionately about the origins of her story and about letting coincidences and random encounters lead her in new directions. Mauro has spent much of her life as an arts writer and critic. Her first foray into film was the screenplay for “Anita,” a story inspired by a statue in Rome of Anita Garibaldi, a Brazilian freedom fighter who fought against foreign occupation in two countries, including Italy. “In My Brother’s Shoes” is based on another experience she had in Rome, this time meeting a man who, after his brother died in the Iraq War, put on his brother’s shoes and backpacked through Europe as his brother always planned to do.
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Xavier Dolan by Clara Palardy.
Oft-expressed concerns about the “mainstreaming” of gay characters and subjects and how that would affect gay film festivals may be misplaced in the tectonic economic shifts of contemporary filmmaking and distribution. By advance word and by the range of subjects, the thirty-second edition of Reeling, like many other recent film festivals, looks like we may be in a brave new world of possibilities. A few I’ve liked: “Lilting,” with Ben Whishaw as a young gay man mourning a lover whose Cambodian mother did not know he was gay is low-key and touching, even more so in the light of Whishaw recently coming out. The intense psychological thriller, “Tom At The Farm” was made just before “Mommy,” the latest over-the-over-the-top melodrama by twenty-five-year-old Xavier Dolan, who shared a Cannes Jury Prize with eighty-three-year-old Jean-Luc Godard. While it lacks the peacock vainglory of the Québécois wunderkind’s fantasticated “Laurence Anyways,” “Tom” toys with the kind of ambiguous psychological turns that many French masters have done so well, including Clouzot and Chabrol. Read the rest of this entry »
By Brian Hieggelke and Brandie Rae Madrid
Forty-one-year-old media arts organization Chicago Filmmakers is soon pulling up stakes from their rented space in Andersonville and moving to their very own firehouse on Ridge Avenue. Brenda Webb, the organization’s longtime executive director and founder of its centerpiece event, Reeling: The Chicago LGBT International Film Festival, explains how the organization is able to focus more on their mission and building ties in the community by having her scale back her role in Reeling. In our conversation, she explains how the new space will allow for a more diverse programming, addressing the needs of its surrounding community. As the Reeling Film Festival approaches next week, Webb tells about the genesis of that endeavor and the changes it has undergone in the last few years, including its return to the Lakeview neighborhood after a brief run in Logan Square.
Were you there at the beginning of Chicago Filmmakers?
I was friends with one of the founders. She and I were roommates when we were students at Columbia. There were five founding members, although Chicago Filmmakers was really started by Bill Brand and another person. It was founded because they were students at the School of the Art Institute and they wanted to show their work outside the university setting. As artists are wont to do, they become validated by not just showing their work within a college or university, but by having a legitimate place where they can show their work. If you’re a painter, there are any number of galleries you might approach. But for filmmakers [in that era], there was no place to go. They essentially created Chicago Filmmakers as a place to show their work and other work by filmmakers like them, as well as to invite experimental filmmakers. The roots of the organization are in experimental film. I just started coming to screenings because my roommate was one of the founders, and she was there every Saturday night tearing tickets and doing that whole thing. That was my first exposure to experimental film, which for me was a real eye-opener. Read the rest of this entry »