(Siskel, July 7–October 3)
“Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.” A heaping helping from Ingmar Bergman’s forty-one-feature filmography in centennial retrospective.
(Saturday July 7, Chicago Film Society at Chicago Filmmakers)
Jane Campion’s rarely seen television feature debut on a privately held 16mm print, a tale of adolescence prefiguring later themes and imagery.
Sorry to Bother You
(Opens Friday, July 6)
Boots Riley arrives in kinetic, crackerjack satire of race in Oakland, California by way of modern-day America.
(Chicago Film Society at NEIU, July 11)
A 35mm print of Hal Ashby’s directorial debut, a comedy of race and economic relations in New York 1970, from a script by Bill Gunn.
(Opens Friday, July 20)
Shimmering, simmering adolescence.
Ray Pride is Newcity’s film critic and a contributing editor of Filmmaker magazine. He is also a photographer: his history of Chicago “Ghost Signs” in words and images is forthcoming; previews on Twitter (twitter.com/chighostsigns) as well as daily photography on Instagram: instagram.com/raypride. Twitter: twitter.com/rayPride. (Photo: Jorge Colombo.)