What if there was intelligent life at the farthest reaches of the studio system?
The hope of capturing historical present tense is like expecting to perform a delicate operation on a runaway train.
Scares that will be most alluring to lifelong coulrophobics.
The world spins in nine double-features from the 1950s in the eleventh “Noir City: Chicago” at the Music Box.
Monte Hellman’s road movie masterpiece; a vast survey of the work of Iran’s Abbas Kiarostami; an awards push for “Joker”; “Noir City Chicago”; and a portrait of Trump’s wicked mentor, Roy Cohn.
For fall, two major Chicago film festivals and a fanfare for one of the final films from pre-Disney Twentieth Century Fox.
“It’s remarkable that a 700-seat neighborhood movie theater still exists, much less thrives, in this day.”
A girl in the city in her dreams.
Gripping, acerbic satire of a young Palestinian writer’s fortunes on a popular Israeli television soap opera.
Chicago in the 1930s; Houston in the 1970s; a world of water; and the streets of Sheffield as if destroyed by distant nuclear war.