“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 »
By Brandie Rae Madrid
Ernest Hemingway and Sherwood Anderson walk onto a film set, but it’s no joke. It’s “Hogtown,” partaking of both classic and experimental movie traditions. Showing at Black Harvest Film Festival, it’s the second in a trilogy of quiet, mostly black-and-white films about isolation within a larger community by writer-director Daniel Nearing. After moving to Chicago from Canada in 2001, Nearing wrote for television and worked as a documentary filmmaker for hire before deciding that his “real heart is in writing something very personal.” Over a cup of coffee, he talked about his newest film and learning to face the things that scare you the most. Read the rest of this entry »
By Jenzo DuQue
“In Indianapolis, two people came up to me and said, ‘You know that scene where Cass goes out in the hoodie at night to follow the painter? We got chills thinking about Trayvon Martin,'” says Chicago director Hugh Schulze about his feature, “Cass,” having its local premiere at the Black Harvest Film Festival. “We shot this movie a year before Trayvon Martin—to me it speaks to the story that there are these issues that, once played out, reflect back on society in an unintentional way.” Set in Detroit, “Cass” burns with questions of passion in the life of a middle-class family after an artist takes residence in the abandoned house next door. We talked over coffee about the ups and downs of making his feature-length debut. Read the rest of this entry »
Prolific Chicago filmmaker Joe Swanberg continues to explore his own backyard in “Happy Christmas,” or more to the point, his own home, a cost-effective location for his first feature released since “Drinking Buddies.” One of those buddies, Anna Kendrick, moves into the newest comedy-drama and continues to drink. And drink. Swanberg plays Jeff, a film director whose wife, Kelly (Melanie Lynskey), is writing a novel, and whose younger sister, Jenny (Kendrick), shows up on their doorstep after a messy and massively deserved breakup. Lena Dunham plays a friend of Jenny’s, and Mark Webber plays a curiously attractive drug dealer whom Kelly plants lips upon. Working in his customary improv style, with cinematographer Ben Richardson (“Beasts of the Southern Wild”) repeating the originated-on-film style of “Drinking Buddies,” Swanberg scores sly points beneath the surface emotional ruckus and the elevated conversational wordplay. Read the rest of this entry »
By Ray Pride
“If you could’ve found out what Rosebud meant, I bet that would’ve explained everything.”
—“Citizen Kane,” Orson Welles and Herman Mankiewicz.
INT. VIRGINIA THEATRE, CHAMPAIGN, ILLINOIS – DAY
Here is one of the most chilling and thrilling sounds I have ever heard in a movie theater, from a Sunday afternoon in the spring of 2012. Everyone in the 1,500 or so seats knew the attraction: a projection of the Blu-ray of “Citizen Kane,” on the big screen, with Roger Ebert’s time-honed commentary playing over the soundtrack. Roger hadn’t spoken since his surgeries of 2006. Heavy red velvet curtains part and the words “An RKO Radio Picture” appear—a radio tower girdling the globe and transmitting worldwide—with the words: “This is Roger Ebert, watching ‘Citizen Kane’ with you.” And Roger was watching “Citizen Kane” with us, from a lounger seat at the back of the auditorium. But it was the simple manifestation of that stilled voice—chummy, smart, ready to entertain and edify, that made the heart jump for just a second. Ebert’s two-hour weave of history and insights rushed forward, a dispatch from a friend long unheard-from. The last words spoken from the screen: “I’m Roger Ebert. I hope you’ve enjoyed seeing ‘Citizen Kane.’” The curtains close, the lights rise, the room rocks with stifled sobs and fills with honest tears. Read the rest of this entry »
Chicago filmmaker Stephen Cone’s ambitious “Black Box” is another study of children-who-are-not-yet-adults, following his 2011 “Wise Kids.” The psychological minefield of a graduate-level theater production is elevated by the students’ choice material, an adaptation of a young-adult novel from the 1980s, described by a thesis adviser as “cheesy,” and the arrival of the author of the gothic goofiness (played by the ever-fascinating Austin Pendleton). While echoes of V. C. Andrews’ “Flowers In The Attic” are pronounced, the interplay of the characters in a simple setting also evokes a film that Cone has mentioned as an influence, John Hughes’ “The Breakfast Club.” Read the rest of this entry »
By Ray Pride
More than seventy films and fifty bands are packed into the first weekend of May in what looks to be the best lineup in CIMMfest’s six-year history. (You’ll find highlights from the performances in the Music section.) I’m excited to see former Chicagoan Joe Angio’s long-in-the-works “Revenge of the Mekons,” and how the doc embraces their longstanding commitment to their values as well as decades of making marvelous music. Documentarian Ron Mann will come down from Toronto to present two of his more musically minded nonfiction films, “Twist” and free-jazz chronicle “Imagine The Sound.” GOBLIN live-scoring Dario Argento’s “Suspiria” at the Metro is one of those out-of-the-ordinary events that make festivals, film and otherwise, a place for those of like minds to assemble. Other live scores include Mary Shelley with Eisenstein’s “Battleship Potemkin,” Califone with Pat O’Neill’s experimental “Water and Power” (1990) and Wrekmeister Harmonies “bristling psychedelic squall” atop 1922’s Swedish-Danish horror film, “Häxan: Witchcraft Through the Ages.”
Among other feature attractions, Mitchell Kezin’s “Jingle Bell Rocks” should pay off its extended gestation with the stories the Canadian documentarian tracked down about his twelve favorite holiday songs, eccentric, even haunted ones that stand tall on their own. SXSW co-founder Louis Black will expound upon John Sayles’ hardly seen birth-of-rock ‘n’ roll allegory, “Honeydripper.” Read the rest of this entry »