By Ray Pride
“Thank you for the days, those endless days, those sacred days you gave me. I’m thinking of the days, I won’t forget a single day…” are words sung in an emotional crescendo near the end of “Until The End of the World,” a Kinks song sungalong in the middle of the night on the bottom of the planet at what a raft of characters believe is already of the end of civilization as they know it, as Wim Wenders and his co-writers Peter Carey and Solveig Dommartin anticipate. Read the rest of this entry »
Never lost, but seldom seen, Jacques Rivette’s “Out 1,” the justifiably legendary twelve-hour-fifty-five-minute epic of post-1968 Paris has been digitally restored, supervised by cinematographer Pierre-William Glenn. Previously seen only via a single 16mm print circulating to cinémathèques (including a Memorial Day weekend Siskel showing in 2006), it is now being shown around the country prior to a January 2016 Blu-ray release. Its extended form, divided into eight episodes, anticipates the phenomenon of “binge-watching” by decades, and that 2007 showing in the company of a raft of cinephiles old and young was a fantastic communal experience. Read the rest of this entry »
I first discovered Nathan Silver’s films via his 2008 Slamdance short, “Anecdote,” which, for a short of that era had exemplary sound design: My ears were dancing. I’ve also been delighted with the progressively more prolific output that’s followed. But his work hasn’t been exposed in Chicago, at least not until now. Fellow filmmaker (and Northwestern prof) Spencer Parsons has programmed a three-sneak of his compelling work, which I’ll write about at length about his intense, ragged psychological dramas when the films are more readily available. The three features are “Exit Elena” (2012), “Soft in the Head” (2013) and “Uncertain Terms” (2014). And there are at least two features coming right after that (“Stinking Heaven” is at CIFF; see below). Read the rest of this entry »
“Alice in the Cities.”
Through October and November, “Wim Wenders On The Road Again,” eleven digitally restored features and six shorts, including Wenders’ 295-minute directors’ cut of his 1992 worldwide walkabout, will be shown at Siskel. The peripatetic German filmmaker’s comprehensive retrospective begins with the wistful “Alice in the Cities” (October 2-3), the long-unavailable Peter Handke-scripted “The Goalie’s Anxiety At The Penalty Kick” (October 3, 7) and “Kings of the Road” (October 10, 14), the magisterial, melancholy odyssey of two projector repairmen along the border between East and West Germany. In the course of time, Wim Wenders’ movies have meant as much to me as the work of any other filmmaker. “The American Friend,” “Kings of the Road,” even “The State of Things” were so compelling to this young moviegoer. Laconic but cosmopolitan, dreamy yet tactile. Melancholy. Read the rest of this entry »
By Ray Pride
There’s no official number of how many film festivals there are in Chicago, or even a readily agreed-upon definition of how many films and events constitute a true “festival,” but in its thirty-third year, Reeling, the Chicago “LGBTQ+” International Film Festival, is definitely one of the most resilient (and the nation’s second oldest, after San Francisco’s Frameline).
“Film festivals not only continue to be relevant, despite the onslaught of choices for entertainment,” founder and executive director Brenda Webb tells me. “In some ways, they are more relevant than ever because of their curatorial role and promotional functions.”
An example of that is how small films that debut on Netflix (not heavily advertised and hyped series) never gain social traction, there’s little conversation in the larger culture, only cold, cryptic algorithms guessing what will satisfy every given view. Webb agrees. “There may be many more choices of films to see online and on television than ever before, but given the noise of overwhelming choices, audiences need to tune into which films to spend their time seeing.” Read the rest of this entry »
CinéVardaExpo: Agnès Varda in Chicago
Jennifer Reeder: During each of my three pregnancies, I considered naming the baby AGNES, as in Varda. Then I had three boys and opted for alternative ways to inject feminism and the history of radical filmmaking into their lives. As a young film student, I was exposed to plenty of French films and, as the only female in my cohort, I was frustrated with all the Godard and Truffaut and Resnais. I found Agnès Varda on my own. “Cléo from 5 to 7“ was a revelation. It’s an extraordinary portrait of an entire life in two hours—a woman’s life as told by another woman. The filmmaker is present. Varda has long been considered a remarkable and prolific filmmaker… and a wife and a mother and an artist and a feminist. Read the rest of this entry »
IFP/Chicago, one of the city’s oldest organizations to support independent filmmakers, has kept a low profile for several years, but is about to launch an ambitious roster of programs, inspired in part by the success of May’s Chicago Underground Film Festival, presently one of the Independent Filmmaker Project’s most prominent enterprises. Other support programs and networking events have grown up around the city since their founding, such as the long-running first-Tuesdays Midwest Film Festival and more recently, the new sip-and-grip comradeship CCCP, the Chicago Creatives Cocktail Party, which IFP co-sponsors.
After three years or so of dormancy, Nicole Bernardi-Reis, an independent producer and president of the board of directors (and 2014 Film 50 subject) sees now as a time for IFP to bloom. “The community changed a lot during that time, as did the resources available to filmmakers,” she says. “Currently, the film and television industry is seeing an influx of productions and revenue due to the Illinois Film Tax Credit. Hollywood is back in Chicago. Business is booming, again. Outside productions have always been an important part of sustaining the film community in the Midwest, but they are just a part.”
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The Russian Woodpecker
By Ray Pride
While it’s never been a more fertile time to produce innovative, powerful, even poetic documentaries, the marketplace is another matter. Even a movie that cost a few thousand dollars has to find a way into the distribution pipeline, gain a little awareness, to get the attention of just a few more eyeballs at a time, maybe recoup a fraction of its cash outlay. Netflix, HBO, fantastic festivals around the world: but what about on the big screen at a theater near you? Several distributors, notably Magnolia (“Life Itself,” “Iris,” “Muscle Shoals”) and Radius (“Citizenfour,” “The Great Invisible”) are combining theatrical and video-on-demand releases for their films, but there’s so much more for audiences to explore, with only a fraction of the nonfiction getting farther than the spreadsheets of programmers and the notebooks of festival critics.
Longtime film journalist (including a stint as founding film editor at Time Out Chicago) and Chicago International Film Festival programmer Anthony Kaufman returns to the Music Box with his curatorial fervor for a second round of “Docs at the Box” in June, presenting five films that represent “the full spectrum of current nonfiction filmmaking, from archival-driven and vérité to avant-garde” each Tuesday night. Read the rest of this entry »
“L For Leisure”
As moderator of the festival’s fourth edition of “Bar Talks,” I can’t formally review what’s in store in the five days of the Chicago Underground Film Festival, but I’d like to indicate the goals of the annual “Bar Talks,” four extended filmmaker/audience conversations, especially in light of the notably consistent focus on atmosphere, mood and elusive narratives in the feature and shorts programming at the twenty-second edition of CUFF, the world’s longest-running underground film festival. The “bar talks,” taking place in the Logan Lounge at the Logan Theatre, are informal gatherings of local and guest filmmakers, with conversation the intention without the ping-pong of panel-like proclaiming. The talks may run an hour, or even an hour-and-a-half, depending on how much everyone has on their mind. Read the rest of this entry »
Photo: José María Castellví
By Ray Pride
When I finished gorging on Josh Karp’s “Orson Welles’s Last Movie: The Making of The Other Side of the Wind,” the late great director’s cryptic title was both fragrant poetry and flagrant prophecy, a sparky introduction to a film maudit no one would likely ever see. The book was released the Tuesday before Welles’ May 6 centenary, now amplified by May 7’s announcement of a $2 million Indiegogo campaign to complete a feature-length version of Welles’ long-in-the-not-finishing final film, drawing on a trove of 1,083 elements, including the immaculate negative, that reportedly weighs more than a ton-and-a-half.
Welles started his project forty-five years ago; he’s been dead for thirty of those. I recently asked Karp how long he’s been working on his often-rollicking, sometimes-detail-oriented tome on Welles’ parallel satire of Hollywood insiders and European art film of the era. “I think I signed the book deal in mid-2011 and the book was essentially done in Fall 2014,” the Northwestern lecturer and onetime Newcity contributor tells me, “So it was three years, give or take a few months. In my mind, it was going to take two years. I always think that, and it’s always three or three-and-a-half.” Read the rest of this entry »