In the Georgia-shot thriller pastiche, “24 Exposures,” veteran Chicago writer-director Joe Swanberg again questions the role of the artist versus those who are depicted via the story of Billy, a death-fetish photographer (Adam Wingard) whose path crosses that of a suicidal solo cop (Simon Barrett). While Swanberg has invoked the example of 1960s Euro-thrillers, “24 Exposures” hews closer to other cited influences, 1990s “Skinemax” thrillers and the boldly colored and plainly sexual work of Zalman King and the breast-baring films of Russ Meyer. Swanberg’s attraction to bold fields of color, such as in one wall in a room painted a hot, unlikely color, is akin to King’s sweetly marzipan sense of design. And the skin—the skin in “24 Exposures” is ample, both in Billy’s grue-strewn shoots and in sexual encounters with his girlfriend and the model of the day. Read the rest of this entry »
Zach Clark’s nimble, absurdist near-comedy “White Reindeer” is not your father’s Christmas story, but maybe your slightly criminal, usually sad uncle’s tale about real estate, weather men, being a contented consumer, murder, strippers, internet sex, cocaine, contemporary kink, sudden death, adultery, and more strippers, all set around the holliest, jolliest time of the year. (And gifts came earlier in the form of Kickstarter finance for the film, the backers of which include a number of indie film luminaries.) Suffice it to say, bittersweet excess ensues and Clark’s use of bumpy pacing and off-balance, sometimes flat acting begins to feel inspired. Read the rest of this entry »
Or more appropriately in our age of image making by everyone, what is “film”? YouTube claims 144,000 hours of video are posted every single day. (A woman who reaches the age of eighty has lived 701, 280 hours: hardly even five YouTubeDays.) And how many hours in a life are there to produce, consume, examine, remember film? (One definition, esthetically, could be: looks like life, feels like a dream.)
Chicago’s film profile was elevated from the 1980s forward by movies like “Hoop Dreams,” “Risky Business,” “Ferris Bueller’s Day Off,” “The Fugitive,” “The Dark Knight” and decades of great documentaries and experimental work by many important figures whose history is still being written. But the link between Chicago and film is more expansive than that, starting with the movie industry: who shoots them, who finances them, who writes them, who finds locations. Then there is the increasingly large number of students in the city, studying some form of film or television or media. The number of students specializing in some kind of media studies or media production at Chicago’s many universities is enormous, from Columbia College, Northwestern, the School of the Art Institute, the University Of Chicago, DePaul, Tribeca Flashpoint, and so on—a shocking number next to the number of films of any shape or size that even the most devoted of us are about to enjoy in any given year. “Film”? It used to be just something you loved seeing on the big screen with the smell of fresh popcorn in the darkness. Even universities are changing the names of their programs in fast-changing times: DePaul, for instance has its “School of Cinema and Interactive Media.” Then there’s “transmedia” and the selling: What stories do we have to tell about the stories we have to tell?
The work goes on. But what is the “work” in a time of “creative destruction” when all models for financial return have gone out the window? In the lists we compiled, we were looking for people who aren’t isolated or cloistered, but who are working, and putting work out into the world. This list is in no way exhaustive nor is it a list of up-and-comers—a groundbreaking image, narrative, economic model could be hatched tonight and launched tomorrow, gone viral quicker than flu itself—but it’s more of a list of those who have found ways to continue their practice, exert their personalities and offer a few examples, both young and long-lived, for the world in ways that are impeccably Chicagoan: rough and ready, come what may. (Ray Pride)
Film 50 was written by Ray Pride and Brian Hieggelke Read the rest of this entry »
From “mumblecore” to suds: Prolific, thirty-two-year-old Chicago filmmaker Joe Swanberg’s new movie, “Drinking Buddies,” his first with actors already recognizable to the larger moviegoing public, could conceivably also have a budget the equal of his entire roster of fifteen-plus earlier features. But even with a fifty-person crew and recognizable stars, also a genial amalgam of the direction that the mostly improvised work has been taking, working with a sense of mood, character and place that has less concern with traditional plotting and structure than the sort of straight-laced romantic comedies that a studio (rather than independent financiers) would customarily bankroll. Set (and shot) partially at Logan Square’s Revolution Brewing, “Drinking Buddies” is more of a lope than a leap, with credible behavioral specificity—looks, glances, pauses, drawing from Swanberg’s usual semi-improvisatory style—while letting what story there is meander. Read the rest of this entry »
Chicago filmmaker Frank V. Ross’ “Tiger Tail In Blue,” which hasn’t made the festival circuit, is his sixth feature. While it’s a shame the Downers Grove resident hasn’t gotten more attention for his work, the keenly observant “Tiger Tail,” demonstrates well the gently idiosyncratic voice heard in earlier films like “Audrey the Trainwreck” (2010). It’s an earnest depiction of drifting young married life, telling the story of Christopher (Ross) and Melody (Rebecca Spence), their schedule-juggling lives. He’s writing a first novel and working as a waiter, where he’s distracted by a co-worker, Brandy (Megan Mercier). Read the rest of this entry »
Chicago filmmaker Todd Looby world-premieres his second feature, “Be Good,” an anecdote about the stress and aggravation of young parenthood after mom Mary (Amy Seimetz) returns to an office job while stay-at-home dad Paul (Thomas Madden) types away at screenplays with Latino characters like “El Flaco” threatening each other with guns that look like the basest, unmarketable trash. Baby’s a troublemaker and the family retriever’s a bounder; household rubble and rubbish tumble in their wake. Characteristic Chicago apartments, decks and side streets co-star. Finding a profile of local filmmaker and father Joe Swanberg in an online “DIY Director” publication, “Get the fuck out of here” is Paul’s immediate response to reading that Swanberg was (as in real life) finishing his eighth or so short feature of the year. “You’ve got to be fucking kidding me.” Read the rest of this entry »
“Nate & Margaret” are unlikely bosom buddies in the first feature by Chicago filmmaker Nathan Adloff, a buddy movie that pairs a nineteen-year-old gay film student (Tyler Ross) and a woman in her fifties, a Rogers Park café waitress, who has hopes of becoming a stand-up comedian with material inspired by her parents’ abusive relationship as well as her own indifferent fortune. Natalie West shuffles amiably; Margaret’s confidence grows as a performer the more open she is about the damage. As does Nate’s, as he meets someone his own age who happens to like him, and to be of the same sex as well. Ah! A first boyfriend. It’s a gentle geek fable with a light, platonic “Harold and Maude” vibe; dramatic complications involve any number of cruel words spoken in anger. Read the rest of this entry »
When does work become a “work”?
Almost as fascinating as the cool, perfectionist sheen of David Fincher’s version of “The Girl With The Dragon Tattoo” is the tattoo of tales of the making of the movie. Collaborators seem to go to special lengths to point out that the painstaking focus Fincher applies to his work is just what he does: his splendid perfectionism isn’t workaholism, it’s work, the work. He’s Lisbeth Salander in his own immodest analytical skills. As the film industry transforms in so many ways, in every way, from distribution to projection to production, the directors who’ve unapologetically forged their own way are often as fascinating behind-the-scenes as they are on screen. Read the rest of this entry »
By Ray Pride
No matter even if you truly wanted to, there’s no way a single viewer could give you an overview of an international film festival with more than a hundred events: you can surmise all you want, based on what festival films have played or have been reviewed at already, or the filmmakers’ reputation. Even festival programmers miss out on sections they’re not part of. I’ll be curious to see statistics after this year’s CIFF to see how many programs the average, but dedicated moviegoer, is able to attend. It’s tough even if you’ve been to a few prior festivals, seen a fistful of advance screeners, availed yourself of advance screenings. But, as luck, fortune or programming may have it, Chicago International has more programs of note in its second week, and a growing number of them have further distribution in the near future. (Disclosure: I was a program consultant for this year’s Docufest section.) Read the rest of this entry »