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Thursday, October 18, 2018

Peter Bogdanovich explains why Buster Keaton still matters

Posted By on 10.18.18 at 06:00 AM

Bogdanovich - COHEN MEDIA GROUP
  • Cohen Media Group
  • Bogdanovich

Silent movies have been enjoying a revival locally, with frequent offerings from the Chicago Film Society, the Music Box Theatre, and the Gene Siskel Film Center, to name a few. This year the 54th Chicago International Film Festival spotlights Buster Keaton, one of the top comedians and directors of the silent era, with The Great Buster, directed by Peter Bogdanovich. Bogdanovich, 79, began his career as a film critic and a programmer at New York's Museum of Modern Art, which led to forays as an author and actor (he studied with Stella Adler) before he turned to filmmaking. This documentary is his first project for Cohen Media Group, a production and distribution company that also restores classic films; his next will be about Douglas Fairbanks.

In addition to The Great Buster, which he narrates, Bogdanovich can be seen in two other festival entries, the newly-completed The Other Side of the Wind, which was directed by Orson Welles but left unfinished for decades after Welles's death in 1985, and Morgan Neville's documentary about the film, They'll Love Me When I'm Dead. Recently I spoke over the phone to Bogdanovich about this bonanza (full disclosure: I once worked with him years ago when he was a guest cohost on Roger Ebert's TV special If We Picked the Winners, on which I served as producer).

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Wednesday, October 17, 2018

Sketches from CIFF: a few thoughts on the nature of virtual reality

Posted By on 10.17.18 at 01:00 PM

VR zombies in the AMC River East lobby, afternoon of October 12
  • VR zombies in the AMC River East lobby, afternoon of October 12

The AMC River East isn't exactly Grauman's Chinese Theater and the Chicago International Film Festival isn't Cannes, but over a week and a half each October some of the better new films and many of the people who made them show up at this airport terminal-like multiplex a half mile short of Navy Pier on Illinois Street. When I pitched writing something about the festival this year, I envisioned wandering about and eavesdropping on the excited conversations of film lovers and putting together an impressionistic travelogue-type essay. But in the lobby of the theater on Friday, there were more young festival volunteers in blue t-shirts than anyone else. The line for Will Call was mostly empty and there was a lot more traffic flowing toward the bowling alley/sports bar and newfangled videogame arcade than the movie theater box office on the second floor. I wrote my editor to try to weasel out of my assignment. Then I saw the people in VR goggles.

In a makeshift roped-off area in front of the elevators, a couple of young volunteers were signing people up to try out the goggles. Beyond them, a middle-aged man was doing a sort of clumsy, slo-mo tai chi thing while holding black strap-like controls in each hand. The goggles covered up half his face and protruded several inches in front of his eyes. Two younger men next to him were doing their own version of the dance, each of them looking like a helpless sleepwalker or maybe somebody being controlled, mannequin-like, via invisible strings. And so they were. I don't know which game they were playing or what the goggles were showing them and took no steps to find out. The whole scene made me think very uncharitable thoughts about the human race in late 2018. If waving arms around feebly with a sensory-deprivation helmet is where we're at as a society, then maybe it's time to call it a wrap.

Virpi Suutari during the Q and A after the 3:30 PM screening of Entrepreneur on October 12
  • Virpi Suutari during the Q and A after the 3:30 PM screening of Entrepreneur on October 12

The movie I saw that afternoon went a little ways towards lightening my mood. Entrepreneur is a deep meditation on the profound changes going on in the global society but is told through the very specific personal experiences of just a few people. Set in Finland, it tells the contrasting stories of a family selling smoked meats out of a traveling truck and two young women who start a business selling an oat-based substitute to meat. It's about new and old economies and the way we used to live and the way we will live in the future. Its director, Virpi Suutari, answered questions afterward. She was as thoughtful and inquisitive as her film and I left the screening feeling better about the state of the world. 

I returned to the festival Monday afternoon to watch Melissa Haizlip's documentary, Mr. Soul!, which tells the story of her uncle, Ellis Haizlip, and the great African-American cultural showcase he created for public television in the late 60s and early 70s. Watching clips of Al Green singing, Nikki Giovanni reciting poems, James Baldwin telling it like it is was bittersweet: there's still no complete archive of this amazing TV show and, 50 years on, the issues with race in this country seem no closer to being resolved in any meaningful way.

Melissa Haizlip at the Q and A after the 12:30 PM screening of Mr. Soul! on October 15
  • Melissa Haizlip at the Q and A after the 12:30 PM screening of Mr. Soul! on October 15

During the Q and A afterwards, Haizlip talked a lot about the challenges of documentary filmmaking and, more specifically, the hurdles for a film like hers has to overcome in order to reach the mass audience that it richly deserves.

I had a ticket for a narrative film an hour later but walked out after about 15 minutes. This was no knock on the particular film but more a testament to the power of a good documentary to keep reverberating in the mind long after it's over. In comparison, watching a bunch of actors play make-believe seemed silly.

The three films I watched all the way through at CIFF this year were all documentaries. Entrepreneur and Mr. Soul! were both superlative in the ways in which they illuminated imported facets of the past and present. Mercifully, the VR zombies weren't in the River East lobby Monday. Perhaps they traded in their goggles in favor of using their own eyes, but that might be overly hopeful. I'm just glad that Virpi Suutari and Melissa Haizlip used their eyes and minds to make my life a little richer over the course of those few days.

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Monday, October 15, 2018

Chicago International Film Festival and more of the best things to do in Chicago this week

Posted By on 10.15.18 at 06:00 AM

Rafiki, playing at CIFF Thu 10/11, 6 PM; Sat 10/13, 1:30 PM; and Thu 10/18, noon
  • Rafiki, playing at CIFF Thu 10/11, 6 PM; Sat 10/13, 1:30 PM; and Thu 10/18, noon

There are plenty of shows, films, and concerts happening this week. Here's some of what we recommend:

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Friday, October 12, 2018

The shorter end of the Chicago International Film Festival: A talk with shorts programmer Sam Flancher

Posted By on 10.12.18 at 06:00 AM

"Shorts Program 8: Meditations (Experimental)" - COURTESY CIFF
  • courtesy CIFF
  • "Shorts Program 8: Meditations (Experimental)"

With any film festival, there's the long and the short of it. More specifically, there are narrative and documentary features, which comprise the bulk of most major festivals, and then there are the short films, officially defined by the Academy of Motion Picture Arts and Sciences as "an original motion picture that has a running time of 40 minutes or less, including all credits." Often overlooked for bigger stars, larger budgets, and longer running times, short films nevertheless embody the philosophy of any good film festival, which is to revel in the thrill of discovery and, more importantly, the opportunity to take risks with the medium.

We've covered the long of it, so what about those shorts? I spoke with Sam Flancher, the short film programmer at the Chicago International Film Festival, about this year’s shorts programs, of which there are eight in total, ranging from documentaries to a new experimental series. Flancher graduated from Columbia College Chicago and has been with the festival since 2012, when he started as a volunteer; he started programming the shorts in 2016.

What do you think of short films in general, as a sort of genre in and of themselves?

I think there’s limitless potential with the short format. People have fewer expectations about what short films should be or how they should work, so I think shorts tend to be free from a lot of the constraints that can bog down feature-length films. When they're at their best, short films are under less pressure to create a saleable product (it’s really hard to make money with a short film), so that allows filmmakers to take risks they might not have if they were under pressure from investors or moneyed interests that were trying to see some return on their investment. The result is a lot of experimentation and risk taking that's unique to short films—there's more room to challenge your audience.

What is the process by which the short films are selected and then curated into programs?

We receive around 3,500 submissions to our open call for entries every year, so most of the films selected for the festival are curated from that list. I’ve got an incredible staff of volunteer pre-screeners that help me review all of those films to find works that we'd like to bring to Chicago. I usually start by just compiling a big database of all the quality work that gets submitted regardless of which specific category it might fit into. Once that list starts to get to a few hundred films, we start to hone them down and consider what films might fit well together, and we build our programs from there.

Solar Walk
  • Solar Walk
What's CIFF's overall strategy with short films? Each festival seems to have its own perspective on the art form.

We try to do a few different things with the short film program. The festival takes pride in its history of discovery, so we're looking to identify filmmakers and perspectives in the short film program who we want to hear from again. It's often happened that alumni of the shorts program will return to the festival with a feature film should that be where their career takes them, so part of it is building relationships with artists whose future work you're excited to see.

We also try to make sure there’s a broad range of perspectives and styles in the program. An individual shorts program is a great opportunity to encourage audiences to engage with different varieties of work. I like it when people come up to me after screenings to tell me that they loved one of the shorts but hated another. When that happens I feel like I've done my job well. I really think there's something in each program for everyone, but it's impossible to think that someone will like all the films. That's the best thing about going to see a short film program—if you don't like what’s on screen you know it'll be over soon and there’ll be another film up there in a few minutes.

What might festivalgoers be able to expect from this year's shorts programs that they haven't seen in years past?

We're doing a few new things with the program this year. First, in line with a festival sidebar, we're doing a program dedicated to comedic shorts. That's different from past years because the comedies are typically peppered throughout all eight programs, and this year there's a concentration of them into one block. It's got a pretty wide range of types of comedy—there’s dialogue-driven star vehicles and nearly silent slapstick romps—so I'm excited to be in the theater for that one to see how the audience responds. There are some oddballs in there.

The experimental program is also new. I’ve wanted to put something like this together for a really long time. My personal taste tends to be on the experimental side in general, so in past years I'd been including non-traditional work in the other programs. I think we realized that there's a robust community of cinephiles in the city who want to see challenging, non-traditional work on the big screen, and there’s room for the festival to engage with them in a more meaningful way this year and going forward.

After seeing Melika Bass's Creature Companion and Deborah Stratman's Optimism, I knew we'd be able to build something around these two dreamy, if incredibly different, works by Chicago filmmakers. The two other films in the program, Apichatpong Weerasethakul's Blue and Isabelle Tollenaere's The Remembered Film, are also both excellent and doing something similar with the way they handle their explorations of narrative and time. After the screening we’ll be doing an extended discussion with Melika and Deborah that will give the audience some really good context and insight into what they’ve just seen. I've been a fan of both for a long time, so I still can't believe we get to put on this event. It's a dream come true.

Tourneur
  • Tourneur
What are your favorite shorts from this year's festival? What can't be missed?

Well, I think they’re all good and worth taking a look at! I'll try to choose some standouts though. I think the experimental program is really strong and would recommend everyone see that. In the short documentary program ("Shorts Program 4: In Real Life") there’s a film called Tourneur by Yalda Afsah that has been in my head since the moment I saw it—it's an observational doc about this strange bullfight in the south of France where they pump tons of foam into the rings with the bull and then kind of dance around it in an attempt to agitate it. It ends up being this meditation on spectacle and absurdity as the bull and these young men wander in and out of the foam. It's incredible and is a standout among a program of really strong docs.

I also think the block of animated shorts ("Shorts Program 2: Outside the Lines") is particularly strong. There’s a film in there called Solar Walk that was one of the first films I sent an invitation to this year. It’s a beautiful mixture of hand-drawn and 3D animation and follows these two intergalactic travelers as they meander in and out of surreal landscapes. The structure finds images and set pieces just kind of bleeding into one another, and it makes for a really pleasant, beautiful visual experience once you realize that you don’t need to try to hard to understand a story or characters.

One final one I’d like to mention is in a program of more traditional narrative dramas ("Shorts Program 5: Searchers") called L’été et Tout le Reste (which translates to "Summer and all the rest"). It's about two friends wrapping up their time working on Corsica, a vacation island. The guests have left, and they’re dreaming of their lives back on the mainland when their routine is revealed to one of them to be something important to him that he doesn’t want to give up. It’s a pretty irresistible movie and includes a few scenes with music from John Jacob Niles—a lute player and folk legend—that are really haunting. Definitely worth coming out for.

Do you think an appreciation of short films is important? If so, why?

I do think it's important to stop and consider short films. As I was saying before, I think they're often overlooked because there's no real financial structure for them to succeed—it's really hard to make money by making a short film. There’s a more democratic or proletarian attitude with shorts—anyone can make one—and I think that’s part of the appeal, and why audiences should consider prioritizing them when they're at a film festival or even just messing around on the internet looking for something interesting to watch. They're often films that were made for the sake of making them, and they're often made by young or new filmmakers. If you're looking to see developing voices or just works relatively free from commercial constraints, you should consider diving into the world of short films.

L’été et Tout le Reste
  • L’été et Tout le Reste
How do you recommend interested festival goers keep up with short films outside the festival?

There are plenty of avenues to see short films theatrically in Chicago. The Chicago Underground Film Festival always has an incredible lineup, as does CIMMfest, and Midwest Independent Film Festival. The Chicago FIlm Society does great work and often includes short films in their lineup, and the Music Box Theatre has plenty of events that feature short films as well. The Art Institute is also a great way to engage with short works, if in a different, non-theatrical setting. The Video Data Bank, in concert with the Art Institute, often puts on screenings of short works. There’s plenty of opportunities to see them here outside of CIFF. You just have to know where to look.

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Indigo Nation Denim Festival and more of the best things to do this weekend

Posted By on 10.12.18 at 06:00 AM

COURTESY INDIGO NATION
  • courtesy Indigo Nation

There are plenty of shows, films, and concerts happening this weekend. Here’s some of what we recommend:

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Wednesday, October 10, 2018

There are Chicagoans in the Chicago International Film Festival!

Posted By on 10.10.18 at 06:00 AM

The Hate U Give
  • The Hate U Give
It's that time of year again: the 54th Chicago International Film Festival starts tonight. Included in the lineup are many films made by Chicago-born or -based filmmakers or else set in our city. Here’s a quick and dirty guide about the films that really put ‘Chicago’ in the festival:

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Monday, October 8, 2018

Caroline, or Change and more of the best things to do in Chicago this week

Posted By on 10.08.18 at 06:00 AM

Caroline, or Change - MARISA KM
  • Marisa KM
  • Caroline, or Change

There are plenty of show, films, and concerts playing in Chicago this week. Here's some of what we recommend:

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Friday, October 5, 2018

Mendoza and more of the best things to do in Chicago this weekend

Posted By on 10.05.18 at 06:00 AM

COURTESY THE ARTIST
  • courtesy the artist

There are plenty of shows, films, and concerts happening this weekend. Here’s some of what we recommend:

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Monday, October 1, 2018

In Assassination Nation, as in life, female power can instill fear when it poses a threat to the patriarchy

Posted By on 10.01.18 at 06:00 AM

assassination_nation.jpg

Is there really such a thing as privacy anymore? This question is one of many asked by Sam Levinson in his second feature, Assassination Nation. But neither Levinson nor the film’s characters let you come out of the theater with an easy answer—that would miss the point entirely. Instead, Assassination Nation serves as a dizzying, aggressive, and controversial commentary on how desensitized we’ve become to violence in a world that won’t stop buzzing.

Assassination Nation follows high school senior Lily Coleman (Odessa Young) and her best friends Bex (Hari Nef), Em (Abra), and Sarah (Suki Waterhouse) as they deal with the aftermath of a leak of personal texts, emails and photos belonging to half the population of their small town.

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Friday, September 28, 2018

Lala Lala and more of the best things to do in Chicago this weekend

Posted By on 09.28.18 at 06:36 PM

Lala Lala - ALEXA VISCIUS
  • Alexa Viscius
  • Lala Lala

There are plenty of shows, films, and concerts happening this week. Here's some of what we recommend:

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Performing Arts
August 26
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Fat Babies Green Mill
December 20

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