Chicago Sun-Times: All posts by Bill Stamets2023-10-10T08:00:00-05:00https://chicago.suntimes.com/authors/bill-stamets/rss2023-10-10T08:00:00-05:002023-10-09T20:28:47-05:002023 Chicago film festival: 10 recommended movies to see
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<img class="Image" alt="Wim Wenders profiles artist Anselm Kiefer in the 3-D documentary “Anselm.”" srcset="https://cst.brightspotcdn.com/dims4/default/0013c19/2147483647/strip/true/crop/1360x763+0+143/resize/490x275!/quality/90/?url=https%3A%2F%2Fcdn.vox-cdn.com%2Fthumbor%2Fi-7KcoDyYIdvsw3go_9YcrTX3Tw%3D%2F0x0%3A1360x906%2F1360x906%2Ffilters%3Afocal%28668x612%3A669x613%29%2Fcdn.vox-cdn.com%2Fuploads%2Fchorus_asset%2Ffile%2F24988143%2FANSELM_still.jpg 1x,https://cst.brightspotcdn.com/dims4/default/21870b5/2147483647/strip/true/crop/1360x763+0+143/resize/980x550!/quality/90/?url=https%3A%2F%2Fcdn.vox-cdn.com%2Fthumbor%2Fi-7KcoDyYIdvsw3go_9YcrTX3Tw%3D%2F0x0%3A1360x906%2F1360x906%2Ffilters%3Afocal%28668x612%3A669x613%29%2Fcdn.vox-cdn.com%2Fuploads%2Fchorus_asset%2Ffile%2F24988143%2FANSELM_still.jpg 2x" width="490" height="275"
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Wim Wenders profiles artist Anselm Kiefer in the 3-D documentary “Anselm.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Cinema/Chicago</p></div></div>
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<p>“Critics Welcome” is the new tagline for the 59th Chicago International Film Festival. Everybody’s a critic, goes the saying, so that means everyone is welcome to appreciate and critique 104 features and 57 shorts over the 12-day run of the cinema extravaganza. </p><p>Also new is festival venue Newcity 14, formerly the ArcLight Cinemas, in Lincoln Park. And for the first time, the Gene Siskel Film Center is devoting its two screens exclusively to festival screenings. The Music Box Theatre once again hosts much fest fare, including opener <a class="Link" href="https://chicago.suntimes.com/movies-and-tv/2023/10/6/23906264/childhood-in-cabrini-green-film-premiere-chicago-international-film-festival-2023-minhal-baig" target="_blank" >“We Grown Now” </a>at 7 p.m. Wednesday.</p><p>Reprising last year’s free street fair celebration, the festival takes over Southport Avenue between Grace and Waveland on opening night from 5 to 10 p.m. </p><div class="RichTextSidebarModule Enhancement" data-module data-align-center><a class="AnchorLink" id="module-770001" name="module-770001"></a>
<div class="RichTextSidebarModule-title">CIFF 2023</div>
<div class="RichTextModule-items RichTextBody"><br><b>59th Chicago International Film Festival</b><br><br><b>When:</b> Oct. 11–22<br><br><b>Where: </b>Newcity 14, 1500 N. Clybourn Ave.; Music Box Theatre, 3733 N. Southport Ave.; Gene Siskel Film Center, 164 N. State St. Five other venues screen fewer programs.<br><br><b>Tickets: </b>$22; Cinema/Chicago members $18 (more for special presentations). Weekday matinees (by 5 p.m.) and late-night films (9 p.m. and later): $15. Short film programs $15. Illinois, Indiana and Wisconsin residents can access virtual screenings Oct. 16-22.<br><br><b>Info: </b><a class="Link" href="http://chicagofilmfestival.com/" target="_blank" >chicagofilmfestival.com</a><br><br><br></div>
</div><p>Over 70 filmmakers will appear in person at various screenings. </p><p>The non-profit Cinema/Chicago, founded by Michael Kutza, presents the festival, continuing through Oct. 22.</p><p>Here are 10 recommended films picked from what I could preview by press time.</p><h3>Dramas</h3><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/goodbye-julia/" target="_blank" ><b>Goodbye Julia</b></a><b>”</b> (Sudan) Mohamed Kordofani portrays a Christian maid and her Muslim employer in Khartoum over five years. Damnable and damaging lies are observed with empathy. The backdrop is the political violence as the country of Sudan splits in two. North American Premiere<i> (Oct. 12, 5:15 p.m. AMC; Oct. 14, 12:30 p.m., Siskel)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Siran Riak stars in the Sudanese film “Goodbye Julia.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Siran Riak stars in the Sudanese film “Goodbye Julia.”</p></div></div>
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</div><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/joram/" target="_blank" ><b>Joram</b></a><b>” </b>(India) A young couple flee a tribal rebellion against a mining company. Five years later in faraway Mumbai they are targeted as terrorists. After seeing the final scene of Devashish Makhija’s expertly crafted political thriller, you will know a sequel is coming. North American Premiere <i>(Oct. 12, 7:30 p.m. AMC; Oct. 13, 8:15 p.m. AMC)</i></p><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/the-taste-of-things/" target="_blank" ><b>The Taste of Things</b></a><b>” </b>(France) Tran Anh Hung directs Juliette Binoche playing a genius chef in the 19th century French countryside. Her relationships with her companionate employer and a young girl seeking a mentor make this drama more compelling than mere “food porn.” <i>(Oct. 13, 7:45 p.m. AMC; Oct. 14, 5:15 p.m. AMC; Oct. 20, 7:30 p.m. AMC)</i></p><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/family-portrait/" target="_blank" ><b>Family Portrait</b></a><b>” </b>(U.S) Lucy Kerr offers an allusive album of interchanges among members of a Texas family who assemble for their annual portrait. A virtuoso moving camera frames this concise 73-minute exercise set in spring 2020. An unnamed pandemic looms. North American Premiere <i>(Oct. 14, 3:15 p.m., AMC; Oct. 16, 6:15 p.m. Siskel)</i></p><p><i><b>“</b></i><a class="Link" href="https://www.chicagofilmfestival.com/film/do-not-expect/" target="_blank" ><b>Do Not Expect Too Much from the End of the World</b></a><b>” </b>(Romania/ Luxembourg/ France/ Croatia) Writer-director Radu Jude is the auteur-provocateur <i>du jour</i>. In this rude 163-minute saga, a production assistant shoots videos of injured workers for a Bucharest ad agency. An executive Zooms from Chicago with a giant Trump Tower photo in the background. From the cheeky cynic who made “Bad Luck Banging or Loony Porn.”<i> </i>(<i>Oct. 15, 7:45 p.m. AMC; Oct. 21, 8 p.m. Siskel)</i></p><div class="Enhancement" data-align-center>
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<img class="Image" alt="An Iranian man (Hossein Soleimani) has an off-putting encounter with a bureaucrat in “Terrestrial Verses.”" srcset="https://cst.brightspotcdn.com/dims4/default/c22f936/2147483647/strip/true/crop/1430x803+0+117/resize/490x275!/quality/90/?url=https%3A%2F%2Fcdn.vox-cdn.com%2Fthumbor%2Fh78k14tEqu1eQ_Fy2-urVMHyxi4%3D%2F0x0%3A1430x1035%2F1430x1035%2Ffilters%3Afocal%28715x518%3A716x519%29%2Fcdn.vox-cdn.com%2Fuploads%2Fchorus_asset%2Ffile%2F24988166%2FTerrestial_Verses__holds_up_arm_tattoo_.jpg 1x,https://cst.brightspotcdn.com/dims4/default/d3b6fb8/2147483647/strip/true/crop/1430x803+0+117/resize/980x550!/quality/90/?url=https%3A%2F%2Fcdn.vox-cdn.com%2Fthumbor%2Fh78k14tEqu1eQ_Fy2-urVMHyxi4%3D%2F0x0%3A1430x1035%2F1430x1035%2Ffilters%3Afocal%28715x518%3A716x519%29%2Fcdn.vox-cdn.com%2Fuploads%2Fchorus_asset%2Ffile%2F24988166%2FTerrestial_Verses__holds_up_arm_tattoo_.jpg 2x" width="490" height="275"
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<div class="Figure-content"><figcaption class="Figure-caption"><p>An Iranian man (Hossein Soleimani) has an off-putting encounter with a bureaucrat in “Terrestrial Verses.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Cinema/Chicago</p></div></div>
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</div><p><i><b>“</b></i><a class="Link" href="https://www.chicagofilmfestival.com/film/terrestrial-verses/" target="_blank" ><b>Terrestrial Verses</b></a><b>” </b>(Iran) Co-directors Ali Asgari and Alireza Khatami skewer the theocratic logic of bureaucrats in a series of 10 encounters, most of them between an Iranian citizen and an off-camera official. A filmmaker seeking a permit is told: “We are trying to stop Western cultural hegemony.” <i>(Oct. 19, 6 p.m. AMC; Oct. 20, 2:45 p.m. AMC)</i></p><h3>Documentaries</h3><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/alien-island/" target="_blank" ><b>Alien Island</b></a><b>” </b>(Chile/ Italy) Cristóbal Valenzuela stages several knowing re-enactments that mix with archival footage and interviews to deconstruct a UFO-obsessed cult in the Pinochet era. Wonderfully weird. Spoiler: It’s deemed a documentary. U.S. Premiere <i>(Oct. 17, 5:15 p.m. AMC; Oct. 18, 2 p.m. Siskel)</i></p><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/anselm/" target="_blank" ><b>Anselm</b></a><b>” </b>(Germany) Wim Wenders profiles the prolific German artist Anselm Kiefer in this masterful 3-D documentary. In style and insight he far surpasses his earlier portrait of an avant-garde choreographer in “Pina.” <i>(Oct. 19, 6 p.m., Logan Center for the Arts, 915 E. 60th St.)</i></p><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/after-work/" target="_blank" ><b>After Work</b></a><b>” </b>(Sweden/ Italy/ Norway) Erik Gandini (“Videocracy”) dazzles with this disquieting essay on the meaninglessness of working — and not working. The camera travels from Kuwait to South Korea and analyzes the work ethic gone awry. North American Premiere <i>(Oct. 15, 3:45 p.m. AMC; Oct. 16, 8:15 p.m. AMC)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>People flee the Ukraine/Russia front in the documentary “In the Rearview.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Cinema/Chicago</p></div></div>
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</div><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/in-the-rearview/" target="_blank" ><b>In the Rearview</b></a><b>” </b>(Poland/ France/ Ukraine) Shooting from the front seat of a minivan, Maciek Hamela mostly shows the passengers in the back seat as they head away from the Ukraine/ Russia front. The faces are as indelible as the tales told. <i>(Oct. 15, 2:45 p.m. AMC; Oct. 16, 5 p.m. AMC)</i><br></p>
https://chicago.suntimes.com/movies-and-tv/2023/10/10/23909185/chicago-film-festival-recommend-international-goodbye-julia-taste-of-things-family-portrait-anselmBill Stamets2022-10-22T09:04:45.652-05:002022-10-22T09:40:37-05:00‘Godland,’ set in Iceland, wins top award at Chicago film festival
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<div class="Figure-content"><figcaption class="Figure-caption"><p>A priest (Elliott Crosset Hove) arrives in Iceland to build a church in “Godland,” winner of the top prize at the Chicago International Film Festival.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Janus Films</p></div></div>
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<p>“Godland,” a dire tale of 19th-century Danish priest building a church in distant Iceland, won the top award Friday at the 58th Chicago International Film Festival, running through Sunday.</p><p>The International Feature Film Competition jury gave the Gold Hugo to this Denmark/ Iceland/ France/ Sweden co-production directed by Hlynur Pálmason. Sixteen films competed for kudos.</p><p>A Silver Hugo for Best Cinematography went to Maria von Hausswolff, who shot “Godland.” The film’s priest shoots glass plate photographs of people he meets on his Christianizing colonial mission.</p><p>A second-place Silver Hugo went to “Close” by Lukas Dhont, which also copped a Gold Q-Hugo from the jury in the OutLook Competition for films that “reflect the myriad perspectives and experiences of LGBTQ+ individuals.”</p><p>The five international feature jurors also granted Silver Hugos for best director to Maryam Touzani for “The Blue Caftan;” best screenplay to the writers of “Saint Omer;” best performance to Vicky Krieps in “Corsage;” best ensemble cast performance to five actors in “The Beast;” and best production design for “The Kings of the World.”</p><p>The jury innovated an Award for Cinematic Bravery to bestow on Iranian auteur Jafar Panahi. His topical “No Bears” is a self-referential narrative where he plays himself making a film under the eyes of authorities.</p><p>Last July Panahi was reportedly ordered to Evin prison to serve five years for “conspiracy and collusion against national security” and one year for “propaganda against the system,” according to judiciary spokesperson Masoud Setayeshi.</p><p>This year’s New Directors Competition jury voted a Gold Hugo for “Falcon Lake” by Charlotte Le Bon, and a Silver Hugo for Ann Oren’s “Piaffe.” Two other films in this category earned the Roger Ebert Award, presented to “a filmmaker with a fresh and uncompromising vision”: “A Piece of Sky” by Michael Koch and “The Great Silence” by Katrine Brocks.</p><p>The International Documentary Competition jury recognized “Alis” (Colombia, Romania, Chile) by Clare Weiskopf and Nicolás Van Hemelryck with a Gold Hugo. A Silver Hugo went to “The Natural History of Destruction” (Germany, Lithuania, The Netherlands) by Sergei Loznitsa.</p><p>The festival’s annual Chicago Award goes to “King of Kings: Chasing Edward Jones.” The late Chicago legend in the title is the grandfather of Harriet Marin Jones, the film’s producer, writer and director. </p><p>Six more awards were granted to short films.</p><p>In late additions to the festival schedule, three award winners screen in “Best of the Fest” slots Sunday at AMC River East 21, 322 E. Illinois St.: 11:30am “King of Kings: Chasing Edward Jones”; 4:45 p.m. “Close,” and 7 p.m. “Godland.” Ticket info at <a class="Link" href="https://www.chicagofilmfestival.com/festival/tickets/" target="_blank" >https://www.chicagofilmfestival.com/festival/tickets/</a><br></p>
https://chicago.suntimes.com/movies-and-tv/2022/10/22/23417704/awards-chicago-international-film-festival-godland-close-blue-caftan-saint-omer-corsage-beastBill Stamets2022-10-19T09:00:00-05:002022-10-18T20:46:42-05:003 great Chicago film festival docs tell local stories
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Edward Jones, who ran the “policy wheel” game of chance on the South Side, is profiled in “King of Kings.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Abelart Productions</p></div></div>
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<p>The Chicago International Film Festival opened last week with a documentary — “A Compassionate Spy,” by Chicago filmmaker Steve James — and offers more nonfiction fare in its second week and closing weekend. </p><p>International documentaries in the 58th annual showcase included the timely historical essays “A Natural History of Destruction” and “The March on Rome.”</p><p>Chicago and Evanston are the settings of three recommended documentaries. Capsule reviews appear below. The first two are world premieres. All three can be watched through the <a class="Link" href="https://www.chicagofilmfestival.com/festival/streaming/" target="_blank" >Virtual Screening page</a> on the fest ticket site.</p><h3>‘King of Kings: Chasing Edward Jones’</h3><p>“All I know is he was my great grandfather and he was the richest African-American in the United States,” says a descendant of the title figure, just one of many interviewed by director and Jones’ granddaughter Harriet Marin Jones. </p><p>Jones researches the South Side businessman who gave back to his customer base, the Black community. In the 1930s and ’40s, Jones and his two brothers built a big business in numbers or “policy wheel,” an illegal neighborhood lottery where the poor could put up as little as a nickel and wish the three numbers they picked would pay off. </p><p>The family saga is fascinating itself, as we follow Jones from Alabama, to Northwestern University, Paris and Mexico City. The film is also a lens on Chicago’s history of organized crime. Italian gangsters and federal investigators would be the downfall of the patriarch. Now we have the Illinois State Lottery, which the film accuses of doing less for its Black players with its profits than Jones did.</p><p><i>(6 p.m. Oct. 19, Chicago History Museum, 1601 N. Clark St.; 6:30 p.m. Oct. 21, Hamilton Park Cultural Center, 513 W. 72nd St.; free first-come, first-served Rush tickets)</i></p><h3>‘No Ordinary Campaign’</h3><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Brian Wallach and Sandra Abrevaya’s lobbying of Congress on behalf of ALS patients is chronicled in “No Ordinary Campaign.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Christopher Burke</p></div></div>
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</div><p>Brian Wallach and Sandra Abrevaya met as campaign organizers for Barack Obama in New Hampshire. They married and were living a good life in Chicago until Wallach got ALS, aka Lou Gehrig’s disease.</p><p>Deploying their campaign and media skill sets, they launched a nonprofit initiative to lobby Congress to revise policies to improve life for ALS patients and raise funds for medical research. As co-executive producers of this informative, pro-active film, they extend their messaging screen. </p><p>Director Christopher Burke reveals some, not overmuch, of the mechanics of advancing their agenda. Getting Barack Obama on camera to offer his input certainly helped. Wallach snagged other high-profile allies. Katie Couric will moderate the after-screening panel with Burke, Wallach, Abrevaya and representatives from the Obama Foundation and Chan Zuckerberg Foundation. </p><p>(3:30 p.m. <i>Oct. 22, Chicago History Museum, 1601 N. Clark St.)</i></p><h3>‘The Big Payback’</h3><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Evanston Ald. Robin Rue Simmons pushes for reparations in “The Big Payback.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Whitney Dow</p></div></div>
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</div><p>Erika Alexander and Whitney Dow co-direct this exemplary documentary that not only tells a nuanced tale of grassroots struggle, but offers itself as a model for organizers in other communities.</p><p>Last year Evanston undertook a reparations program — the state’s first — to mitigate a legacy of economic injury to Black Evanston residents due to institutional racism, including the thwarting of home ownership.</p><p>Evanston Ald. Robin Rue Simmons is the prime mover and has now moved on to help other municipalities take their own steps. The filmmakers embed her recent efforts in decades of unsuccessful measures in Congress prior to the passing of H.R. 40. Especially interesting to Chicago viewers — and likely to Evanston viewers too — will be the detailed history of the Black community in Evanston.</p><p>Simmons, Alexander and Dow are scheduled to appear at the screening.</p><p><i>(1 p.m. Oct. 22, Chicago History Museum, 1601 N. Clark St.)</i><br></p>
https://chicago.suntimes.com/movies-and-tv/2022/10/19/23411978/chicago-international-film-festival-reviews-king-of-kings-no-ordinary-campaign-the-big-paybackBill Stamets2022-10-11T05:30:00-05:002022-10-16T13:19:25-05:00Chicago International Film Festival: 10 movies worth seeing
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“A Piece of Sky” will screen at the Chicago International Film Festival.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Hugofilm</p></div></div>
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<p>For the first time, an opening night block party will kick off the Chicago International Film Festival — boasting 96 features and 56 shorts over 12 days.</p><p>From 5 to 10 p.m. Wednesday, Southport Avenue will be closed off between Grace and Waveland. Food, drink and festival merch will be on offer as an improv troupe, a DJ and a band featuring two film critics entertain.</p><p>Meanwhile, behind the doors of the Music Box Theatre, screenings will begin at 7 p.m. with the documentary<a class="Link" href="https://chicago.suntimes.com/movies-and-tv/2022/10/7/23389598/compassionate-spy-ted-hall-documentary-steve-james-chicago-film-festival" target="_blank" > “A Compassionate Spy”</a> by Chicago filmmaker Steve James.</p><div class="RichTextSidebarModule Enhancement" data-module data-align-center><a class="AnchorLink" id="module-470000" name="module-470000"></a>
<div class="RichTextSidebarModule-title">Chicago Film Festival</div>
<div class="RichTextModule-items RichTextBody"><br><b>58th Chicago International Film Festival</b><br><br><b>When:</b> Oct. 12–23<br><br><b>Where:</b> AMC River East 21, 322 E. Illinois St.; Music Box Theatre, 3733 N. Southport Ave.; Gene Siskel Film Center, 164 N. State St.<br><br><b>Tickets: </b>$20; Cinema/Chicago members $17 (more for special presentations). After Dark (10 p.m. and later): $15. Weekday matinees (by 5 p.m.): $13. Student/senior (in-person at box office): $17. Illinois, Indiana and Wisconsin residents can access virtual screenings.<br><br><b>Passes: </b>Available for 20 and 10 admissions. Doc 4-Film Bundle for documentary films, except for Opening Night one.<br><br><b>Info: </b><a class="Link" href="http://chicagofilmfestival.com" target="_blank" >chicagofilmfestival.com</a><br><br><br></div>
</div><p>Other documentaries feature local history angles. “Art and Pep” chronicles the title couple who started the North Side bar Sidetracks that continues to play a political role in the LGBTQ+ community. “King of Kings: Chasing Edward Jones” reports the saga of a Policy (aka illegal lottery) legend in the South Side’s African-American community.</p><p></p><p>Check the festival’s web site for updates on filmmakers who will appear in person at screenings and tributes. At press time 19 are expected.</p><p>Industry Days offers 10 panels of professionals starting Thursday. Three networking mixers are planned for panel participants.</p><p>The non-profit Cinema/Chicago, founded by Michael Kutza, presents the festival, continuing through Oct. 23.</p><p>Here are 10 recommended films selected from those available for preview at press time.</p><h3>DRAMAS</h3><p><a class="Link" href="https://www.chicagofilmfestival.com/film/a-lot-of-nothing/" target="_blank" ><b>“A Lot of Nothing”</b></a><b> </b>(U.S.) Mo McRae directs a highly topical “satirical thriller” about a white cop killing a kid sitting in a car at night. An African-American couple accost the officer, their next-door neighbor. Guess who’s coming to a burnt chicken dinner? A hot mess of race, class and family issues ensues with arresting shifts in tone. For a finale: the ultimate act of triggering.<i> (Oct. 15, 8:30 p.m.; Oct. 16, noon, AMC River East, 322 E. Illinois St.)</i></p><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/corsage/" target="_blank" ><b>Corsage</b></a><b>” </b>(Austria/ France/ Germany) One of 11 entries for best international feature in the Oscars, “Corsage” stars Vicky Krieps as a willful Austrian empress in 1878. Negotiating gender politics is a royal pain. Marie Kreutzer directs this “revisionist costume drama.” Indeed, the empress is filmed with a Lumiere moving picture camera, the royal doctor shoots her up with heroin, and a harpist sings a Rolling Stones song — years before any those existed. <i>(Oct. 15, 3 p.m.; Oct. 16, 2:45 p.m, AMC)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Leonor Will Never Die”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Music Box Films</p></div></div>
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</div><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/leonor-will-never-die/" target="_blank" ><b>Leonor Will Never Die</b></a><b>” </b>(Philippines) A TV set tossed out a window knocks out an elderly screenwriter of action films. An unfinished screenplay goes into production. She does rewrites in her head from her hospital bed. Martika Ramirez Escobar directs an especially entertaining tale in that fest genre: a film about filmmaking. <i>(Oct. 20, 8 p.m., Gene Siskel Film Center, 164 N. State St.; Oct. 16, 2:45 p.m., AMC)</i></p><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/nanny/" target="_blank" ><b>Nanny</b></a><b>” </b>(U.S.) Nikayatu Jusu directs Anna Diop playing a nanny in New York City. Her upscale white employers implicate her in their marital issues, which ultimately and tragically delay her goal of flying her son from Senegal. Visual design, musical atmosphere and emotional detail create a nuanced take on her plight as an immigrant woman of color. <i>(Oct. 21, 6 p.m., AMC)</i></p><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/a-piece-of-sky/" target="_blank" ><b>A Piece of Sky</b></a><b>” </b>(Switzerland/ Germany)<b> </b>One of a handful of fest dramas set in European villages where outsiders are distrusted, this is a scenic and sensitive tale of a young bar-keep, letter carrier and mom in the Swiss alps. She marries an outsider who gets brain cancer and gets stigmatized for impaired “impulse control.” Michael Koch directs a touching study of empathy and its antithesis. <i>(Oct. 16, 7:15 p.m.; Oct. 17, 7:45 p.m, AMC)</i></p><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/r-m-n/" target="_blank" ><b>R.M.N.</b></a><b>”</b> (Romania/ France/ Belgium) Longtime fest fave Cristian Mungiu offers another incisive critique of cultural politics. Transylvanian bakers hire two workers from Sri Lanka. Anti-foreigner anger erupts. There are bears and other dangers in the woods and hills, warn posted signs. You can ask Mungiu what’s up when those signs become symbols in the end. He’s attending both screenings. <i>(Oct. 13, 8 p.m.; Oct. 14, 2:45 p.m., AMC)</i></p><h3>DOCUMENTARIES</h3><p><b>“</b><a class="Link" href="https://www.chicagofilmfestival.com/film/a-compassionate-spy/" target="_blank" ><b>A Compassionate Spy</b></a>” (U.S./ U.K.) Steve James directs an especially insightful and moving portrait of two University of Chicago grad students in love with one another and ideas. Re-created scenes show them in the Quadrangles and Promontory Point. Ted Hall goes to Los Alamos to work on the atomic bomb. He leaks technical secrets to the U.S.S.R. James delves into what was he thinking and all the consequences. James will attend this Opening Night screening. <i>(Oct. 12, 7 p.m., Music Box, 3733 N. Southport)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Innocence”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Guy Davidi</p></div></div>
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</div><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/innocence/" target="_blank" ><b>Innocence</b></a><b>”</b> (Denmark/ Israel/ Finland/ Iceland) Guy Davidi composes a deeply moving essay about young Israelis facing military duty. Indoctrination begins at a very young age, yet the conscripts and enlistees whose own words are voiced by actors on the soundtrack did commit suicide. Their profound doubts are beautifully articulated by aerial and verité cinematography. <i>(Oct. 16, 4:45 p.m, AMC; Oct. 18, 6 p.m. GSFC)</i></p><p>“<a class="Link" href="https://www.chicagofilmfestival.com/film/the-natural-history-of-destruction/" target="_blank" ><b>The Natural History of Destruction</b></a>” (Germany/ Lithuania/ Netherlands) Sergei Loznitsa does a follow-up to his masterful “Babi Yar. Context” from last year’s fest. This time he adapts the title of W.G. Sebald’s 1999 book to show how England and Germany bombed the hell out of each other in World War II. Germany got the worst of it, as exhaustively detailed by Allied cameramen. Highly recommended. <i>(Oct. 17, 5:30 p.m.; Oct. 19, 2 p.m., AMC)</i></p><p><a class="Link" href="https://www.chicagofilmfestival.com/film/the-visitors/" target="_blank" ><b>“The Visitors”</b></a> (Czech Republic/ Norway/ Slovakia) Veronika Lišková documents a stint of fieldwork by a social anthropologist in Longyearbyen. It’s a treeless, avalanche-imperiled town on an island off Norway. She interviews residents about their perception of non-Norwegians who can arrive, live and work there without any visas. This geopolitical anomaly is a microcosm of global changes in climate and community. <i>(Oct. 16, 2:30 p.m.; Oct. 18, 1 p.m., AMC)</i><br></p>
https://chicago.suntimes.com/movies-and-tv/2022/10/11/23396020/chicago-international-film-festival-recommended-10-movies-block-partyBill Stamets2021-10-22T13:16:06.586-05:002021-10-22T14:09:54-05:00‘Memoria’ wins top award at Chicago film festival
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Tilda Swinton stars in “Memoria,” winner of the top prize at the Chicago International Film Festival.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Neon</p></div></div>
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<p>The 57th Chicago International Film Festival on Friday gave its top award — the Gold Hugo in its International Competition — to “Memoria” by Thai director Apichatpong Weerasethakul. Tilda Swinton stars as a woman mystified by “a rumble from the core of the earth” and seeks its meaning in the Colombian jungle.</p><p>The festival announced this year’s awards on its YouTube channel. Artistic director Mimi Plauché hosted the live-streaming of jurors and winners.</p><p>“We are overjoyed,” Weerasethakul, a former School of the Art Institute of Chicago grad student, said via Zoom. “Chicago was like my second home where I discovered another kind of cinema in the classroom, at Chicago Filmmakers, the Film Center, Facets and the Music Box and of course at the Chicago International Film Festival.” He also saluted the projectionists here.</p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Memoria” director Apichatpong Weerasethakul speaks at the New York Film Festival on Oct. 5.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Jamie McCarthy/Getty Images</p></div></div>
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</div><p>Japanese director Ryuske Hamaguchi won two awards: a Silver Hugo Jury Prize for “Drive My Car” and a Silver Q-Hugo (honoring LGBTQ+ films) for “Wheel of Fortune and Fantasy” in the OutLook Competition.</p><p>Other Gold Hugo awards include “Brother’s Keeper” in the New Directors Competition and “Skal” in the International Documentary Competition. “Great Freedom” earned a Gold Q-Hugo in the Outlook Competition.</p><p>The Chicago Award for films in the City & State program was bestowed on Margaret Byrne’s “Any Given Day,” a documentary on Cook County mental health issues. The recognition comes with two in-kind donations of film production services valued at $45,000.</p><p>Two Silver Hugos went to “Nobody Has to Know”: Bouli Lanners for Best Male Performance and Michelle Fairley for Best Female Performance.</p><p> Other Silver Hugos went to “Babi Tar. Context” in the International Documentary Competition, “107 Mothers” for Best Director, “Amparo” in the New Directors category, “What Do We See When We Look at the Sky?” for Best Screenplay, and “The Worst Person in the World” for Best Cinematography.</p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Drive My Car” is one of two award winners by Japanese director Ryuske Hamaguchi.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Janus Films</p></div></div>
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</div><p>“Memoria” screens again on Saturday at 1 p.m. at AMC River East 21. “Drive My Car” screens there at 2 p.m. “Any Given Day” screens at 12:15 p.m.</p><p>Five Best of Fest screenings are scheduled for Sunday night, the festival’s last. Titles and times will be announced at <a class="Link" href="http://chicagofilmfestival.com" target="_blank" >chicagofilmfestival.com</a></p><p>Billing itself as “North America’s longest-running competitive film festival,” the annual event is presented by the nonprofit Cinema/Chicago.</p><p></p>
https://chicago.suntimes.com/movies-and-tv/2021/10/22/22740546/chicago-film-festival-awards-memoria-apichatpong-weerasethakul-gold-hugo-internationalBill Stamets2021-10-11T19:14:42.378-05:002021-10-12T09:16:51-05:00Chicago International Film Festival 2021: 10 movies to see
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Lou Reed and his band are profiled in “The Velvet Underground,” screening Wednesday in the Chicago film festival and premiering Friday on Apple TV+.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Apple</p></div></div>
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<p>Revelatory and resilient, the Chicago International Film Festival brings back in-theater screenings, along with less costly virtual screenings. Last year nearly all of the festival occurred online. Either way, cinema is the venerably virtual way to widen our horizons limited by COVID-19. </p><div class="RichTextSidebarModule Enhancement" data-module data-align-floatRight><a class="AnchorLink" id="module-f50000" name="module-f50000"></a>
<div class="RichTextSidebarModule-title">Untitled</div>
<div class="RichTextModule-items RichTextBody"><br><b>57th Chicago International Film Festival</b><br><br><b>When: </b>Oct. 13–24<br><br><b>Where:</b> AMC River East 21, 322 E. Illinois St.; Music Box Theatre, 3733 N. Southport Ave.; Gene Siskel Film Center, 164 N. State St.; drive-In at ChiTown Movies, 2343 S. Throop St. Geoblock streaming available in Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, Wisconsin.<br><br><b>Tickets:</b> $20; Cinema/Chicago members $17. More for Special Presentations. After Dark (10 p.m. and later): $15. Matinees (weekdays before 5 p.m.): $13. Student/senior (in-person sales only): $17. Drive-in (maximum 6 people per car; only advance sales): $55; members $45. Virtual screenings: $15; members $12. <br><br><b>Info:</b> <a class="Link" href="http://chicagofilmfestival.com/" target="_blank" >chicagofilmfestival.com</a><br></div>
</div><p>“The French Dispatch” — another ensemble treat by the inventive and diverting Wes Anderson — launches the festival at 7 p.m. Wednesday at the Music Box Theatre, a partner venue added this year. Tickets are $40. This U.K./France/Germany co-production opens Oct. 21 in Chicago.</p><p>The 57th annual festival draws cinema co-produced in 57 different countries, coincidentally. The schedule has 89 feature-length films and 10 programs of shorts. Documentaries include world premieres of works about Mayor Harold Washington, chef Charlie Trotter and U.S. Transportation Secretary Pete Buttigieg.</p><p>“Accessibility” is the 2021 watchword. “Everybody misses the face-to-face aspect,” admits artistic director Mimi Plauché, now in her 16th year at the non-profit Cinema/Chicago that presents the festival. “You can’t replicate that in-theater experience.” But she loves how audience members now connect through chat boxes during livestream Q&A sessions. “I think there’s a new ease in communication.”</p><p>To attend in-person, indoor screenings you need proof of full vaccination or negative COVID-19 PCR test results. More details are at <a class="Link" href="http://www.chicagofilmfestival.com/festival/safety/" target="_blank" >www.chicagofilmfestival.com/festival/safety/</a></p><p>Noteworthy work by big-name auteurs includes “Belfast” by Kenneth Branagh, “Dune” by Denis Villeneuve and “Spencer” by Pablo Larrain. Other directors from the international festival circuit are Jane Campion, Zhang Yimou and Apichatpong Weerasethakul.</p><p></p><p>Here are 10 films recommended to see on the big screen or stream at home (tickets for both in-person and streaming options available at <a class="Link" href="https://4cljj02jkmo341op21yakkkn-wpengine.netdna-ssl.com/wp-content/uploads/2021/10/57Fest_FestivalGuide_101121-web.pdf" target="_blank" >chicagofilmfestival.com</a>):</p><h4>DRAMAS</h4><p><a class="Link" href="https://www.chicagofilmfestival.com/film/amira/" target="_blank" ><b>“Amira”</b></a> (Egypt/Jordan/UAE/Saudi Arabia) Egyptian filmmaker Mohammed Diab crafts a moving thriller about a 17-year-old Palestinian woman seeking truths about her birth. Imprisoned by Israelis, her father had nonetheless impregnated her mother. DNA tests now create a tragic conflict of identity. <i>(5:45 p.m. Oct. 19, AMC River East, 322 E. Illinois St.)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Amira”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Provided</p></div></div>
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</div><p><a class="Link" href="https://www.chicagofilmfestival.com/film/bergman-island/" target="_blank" ><b>“Bergman Island”</b></a><b> </b>(France/Belgium/Germany/Sweden) Two writers work on new scripts on the island Swedish filmmaker Ingmar Bergman made famous. Their issues resonate with Bergman’s storied marital and artistic issues. Mia Hansen-Love seamlessly morphs their own film into one or two others being made. <i>(8 p.m. Oct. 14, AMC River East 21)</i></p><p><a class="Link" href="https://www.chicagofilmfestival.com/film/a-hero/" target="_blank" ><b>“A Hero” </b></a>(Iran)<i> </i>Asghar Farhadi offers a masterly drama of a man dealing with a debt to his ex-father-in-law that got him in prison. During a two-day release he implicates the warden and a prisoner charity in a feel-good news story that backfires. One lie inspires other lies, all in defense of reputations. Farhadi critiques media and social media for treating virtue as spectacle. “A Hero” won the Cannes film festival’s Grand Prix. His earlier “Fireworks Wednesday” and “The Salesman” won Hugos at the Chicago International Film Festival. <i> (7:45 p.m. Oct. 19 and 8:15 p.m. Oct. 22, AMC River East 21)</i></p><p><a class="Link" href="https://www.chicagofilmfestival.com/film/the-last-execution/" target="_blank" ><b>“The Last Execution” </b></a>(Germany) Franziska Stünkel re-creates the Kafkaesque plight of an East Berlin academic coerced by state security agents to destroy a soccer star who defected to the west. As in other politically acute entries this year, men leverage women in power plays. The title refers to the June 26, 1981 execution of Werner Teske, whose story inspired the screenplay. <i>(8:45 p.m. Oct. 16, and 5:15 p.m. Oct. 21 AMC River East 21)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“The Last Execution”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Provided</p></div></div>
</figure>
</div>
</div><p><a class="Link" href="https://www.chicagofilmfestival.com/film/paris-13th-district/" target="_blank" ><b>“Paris, 13th District”</b></a><b> </b>(France) Three young Parisians are variously roommates, co-workers, lovers, ex-lovers and lovers once more. Shooting in black-and-white, Jacques Audiard serves a wonderful slice of Paris romance. Yes, it’s familiar French fare but these characters and actors really are winning. <i>(8:30 p.m. Oct. 16 and 8:15 p.m. Oct. 19, AMC River East 21)</i></p><p><a class="Link" href="https://www.chicagofilmfestival.com/film/the-tsugua-diaries/" target="_blank" ><b>“The Tsugua Diaries”</b> </a>(Portugal) Maureen Fazendeiro and Miguel Gomes co-direct a playful film about three young Portuguese spending time in a large house in the country doing not much. It starts on Day 22 and counts back to Day 1. We will learn who they are and how they got there. Spoiler: A film crew comes into view and COVID-19 rules are spelled out. <i>(5:15 p.m. Oct. 14 and 8:30 p.m. Oct. 22, AMC River East 21)</i></p><h4>DOCUMENTARIES</h4><p><a class="Link" href="https://www.chicagofilmfestival.com/film/babi-yar-context/" target="_blank" ><b>“Babi Yar. Context” </b></a>(The Netherlands/Ukraine) Sergei Loznitsa assembles a searing montage that contextualizes Germans and Ukrainians shooting 33,771 Jews near Kiev on September 29 and 30, 1941. Adding natural sounds and actors voicing actual words, transcribed and broadcast at the time, lends uncanny impact to the originally silent footage. Some was home movies by German soldiers. <i>(12:15 p.m. Oct. 17, AMC River East 21)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>A Stalin poster is torn down in an image from “Babi Yar. Context.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Provided</p></div></div>
</figure>
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</div><p><a class="Link" href="https://www.chicagofilmfestival.com/film/cow/" target="_blank" ><b>“Cow”</b></a><b> </b>(U.K.) In her press notes Andrea Arnold (“American Honey”) cites The Cambridge Declaration on Consciousness as background for this intimate, intriguing chronicle of a cow in a barn. Luma looks enslaved yet enjoys a few lovely episodes of outdoor mobility, if not liberty. Interspecies empathy ensues. And a little sly humor. The wrenching end is a blindsider. <i>(6 p.m. Oct. 19, AMC River East 21)</i></p><p><a class="Link" href="https://www.chicagofilmfestival.com/film/the-last-forest/" target="_blank" ><b>“The Last Forest”</b> </a>(Brazil) Luiz Bolognesi won a Silver Hugo for “Ex-Shaman” in the 2018 festival. He returns to the rainforest to further document the further struggles of ex-shaman Davi Kopenawa Yanomami, credited here as co-writer. He stars as himself. Their shared perspectives defend an imperiled way of life from invasive miners and mercury ruining the water. <i>(6 p.m. Oct. 20, AMC River East 21)</i></p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“The Last Forest”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Provided</p></div></div>
</figure>
</div>
</div><p><a class="Link" href="https://www.chicagofilmfestival.com/film/the-velvet-underground/" target="_blank" ><b>“The Velvet Underground”</b></a><b> </b>(U.S.) In 2007 Todd Haynes made “I’m Not There,” an odd biopic with six actors playing Bob Dylan. Now he profiles the late Lou Reed, his band The Velvet Underground and the surrounding Andy Warhol scene. This artfully composed portrait of New York City musicians generously samples experimental filmmakers, including Stan Brakhage. <i>(7 p.m. Oct. 13, ChiTown Movies Drive-In, 2343 S. Throop St.)</i></p><p></p>
https://chicago.suntimes.com/movies-and-tv/2021/10/11/22720109/chicago-international-film-festival-recommend-moviesBill Stamets2020-10-23T17:22:37-05:002020-10-23T17:22:38-05:00‘Sweat’ earns top prize at Chicago International Film Festival
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<img class="Image" alt="Magdalena Kolésnik stars as aself-obsessed internet star, exposing what it means to live a life online in “Sweat.”" srcset="https://cst.brightspotcdn.com/dims4/default/efc8bb3/2147483647/strip/true/crop/836x469+0+189/resize/490x275!/quality/90/?url=https%3A%2F%2Fcdn.vox-cdn.com%2Fthumbor%2Fpl6KCWv0OyfpkftdNHEBG9AYdxo%3D%2F0x0%3A836x848%2F836x848%2Ffilters%3Afocal%28357x352%3A358x353%29%2Fcdn.vox-cdn.com%2Fuploads%2Fchorus_asset%2Ffile%2F21985178%2FSWEAT_photo_Sylwia_and_her_fitness_fans.png 1x,https://cst.brightspotcdn.com/dims4/default/07a0d90/2147483647/strip/true/crop/836x469+0+189/resize/980x550!/quality/90/?url=https%3A%2F%2Fcdn.vox-cdn.com%2Fthumbor%2Fpl6KCWv0OyfpkftdNHEBG9AYdxo%3D%2F0x0%3A836x848%2F836x848%2Ffilters%3Afocal%28357x352%3A358x353%29%2Fcdn.vox-cdn.com%2Fuploads%2Fchorus_asset%2Ffile%2F21985178%2FSWEAT_photo_Sylwia_and_her_fitness_fans.png 2x" width="490" height="275"
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<div class="Figure-content"><figcaption class="Figure-caption"><p>Magdalena Kolésnik stars as aself-obsessed internet star, exposing what it means to live a life online in “Sweat.”</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Lava Films</p></div></div>
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<p>The 56th Chicago International Film Festival awarded its top prize, a Gold Hugo, to “Sweat.” Due to COVID-19, the ceremony was live-streamed Friday morning on YouTube. Apt for pandemic distancing, this poignant drama portrays a lonely online fitness influencer. “Sweat” also won a best art direction award.</p><p>“I can only speak into a computer but I guess that’s the life we have nowadays,” said Magnus von Horn, Swedish director of “Sweat.” Zooming from Warsaw, he added: “Because there’s such a big Polish population in Chicago. Pay attention, not only the Poles but everyone else, [to] what’s happening in Poland right now… [T]he government is trying to take away the freedom of choice to women and families and please react strongly. What’s going on is crazy.”</p><p>The Silver Hugo Jury Prize went to “Careless Crime,” Shahram Mokri’s remarkable reflexive drama about an Iranian movie theater targeted by anti-Shah arsonists in 1978. Soviet suppression of strikers in 1962 is the timely theme of Andrei Konchalovsky’s “Dear Comrades!” (Russia), which earned him a Silver Hugo for best director.</p><p>Other recognition in the International Feature Film Competition included a best performance Silver Hugo for actor Yakusho Koji in “Under the Open Sky” (Japan). Eight actors in “And Tomorrow the Entire World” (Germany) shared a best ensemble performance Silver Hugo.</p><p>“Apples” (Greece) received a Silver Hugo for best screenplay. “Night of the Kings” (Côte d’Ivoire, France, Canada, Senegal) copped dual kudos for best cinematography and best sound. </p><p>The New Directors Competition jury voted a Gold Hugo for “Preparations to Be Together for an Unknown Period of Time” (Hungary) and a Silver Hugo for “The Special” (Venezuela, U.S.). Chaz Ebert presented the Roger Ebert Award to “Memory House (Brazil, France).</p><p>The International Documentary Competition jury gave a Gold Hugo to “Things We Dare Not Do” (Mexico), which also got a Gold Q-Hugo in the Out-Look Competition for entries on “sexuality and identity.” A Silver Q-Hugo went to “Days” by art house auteur Tsai Ming-Liang (Taiwan).</p><p>Six shorts won nods from jurors. The Chicago Award for a short made in Chicago or Illinois went to “Patois,” co-directed by Rogers Park native Andre Muir (“4 Corners”) and Columbia College grad Danielle Alston.</p><p>Presented by the nonprofit Cinema/ Chicago, the city’s oldest film festival continues through Sunday with online screenings, including “Sweat” and “Careless Crime.” Visit <a class="Link" href="http://chicagofilmfestival.com" target="_blank" >chicagofilmfestival.com</a></p><p></p><p><i>Bill Stamets is a Chicago freelance writer.</i><br></p>
https://chicago.suntimes.com/movies-and-tv/2020/10/23/21531095/chicago-international-film-festival-awards-announced-moviesBill Stamets2020-10-13T09:00:00-05:002020-10-12T23:57:31-05:00Chicago International Film Festival: 10 recommended movies to see
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Careless Crime,” recounting a 1979 theater arson in Iran, is streaming as part of the Chicago International Film Festival.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Dreamlab Films</p></div></div>
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<p>The Chicago International Film Festival, now in its 56th year, makes a novel move online thanks to the novel coronavirus. The 11-day showcase of world cinema offers 39 dramas, 19 documentaries and 56 shorts via the internet. Seven features are world premieres. Audiences can interact with filmmakers in livestream Q&A sessions. </p><p>“We can reach new audiences,” says artistic director Mimi Plauché. “The festival is more accessible to people who live anywhere in the U.S.” Some titles, however, are limited to Chicago audiences; other films are limited to Midwesterners living in Illinois and five other states. </p><div class="RichTextSidebarModule Enhancement" data-module data-align-floatRight><a class="AnchorLink" id="module-760000" name="module-760000"></a>
<div class="RichTextSidebarModule-title">56th Chicago International Film Festival</div>
<div class="RichTextModule-items RichTextBody"><h4>56th Chicago International Film Festival</h4><br><b>When:</b> Oct. 14–25<br><br><b>Where:</b> Online, plus eight screenings at ChiTown Movies drive-in.<br><br><b>Tickets: </b>$12 per online screening, or $16 for special presentations. Passes available.<br><br><b>Info:</b> <a class="Link" href="http://chicagofilmfestival.com/" target="_blank" >chicagofilmfestival.com</a><br><br><br></div>
</div><p>The global pandemic forced international festivals to go virtual, so Plauché and her programming team scouted this year’s entries through the internet. She says she is partial to “the films you watch and you can’t stop thinking about them.” Three are dramas in this year’s downsized lineup: <a class="Link" href="https://www.chicagofilmfestival.com/digifilm/any-crybabies-around/" target="_blank" >“Any Crybabies Around?,” </a><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/dear-comrades/" target="_blank" >“Dear Comrades!”</a> and <a class="Link" href="https://www.chicagofilmfestival.com/digifilm/memory-house/" target="_blank" >“Memory House.”</a> </p><p>Nonfiction fare is especially strong this year. Completed before the virus went global, every film ends up documenting our pre-pandemic life when we could be close to one another without wearing masks.</p><p>The festival site offers tech tips for home viewing on a Mac, iPhone, iPad, AppleTV, PC, Android and Roku. A support team can be reached by phone, email and chatbox from 10 a.m. to 10 p.m. during the festival. Each ticket lets you watch for a 48-hour window after you first hit play. </p><p>Here are 10 films worth streaming:</p><h4>DRAMAS</h4><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/careless-crime/" target="_blank" ><b>“Careless Crime”</b></a><b> </b>(Iran) Shahram Mokri directs a masterful drama based on the deadly Rex Cinema fire started by anti-Shah arsonists in 1979. The plot interlaces key motifs in Iranian cinema, including its signature reflexivity. The perfect film to persuade audiences to stay the hell out of movie theaters.</p><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/there-is-no-evil/" target="_blank" ><b>“There Is No Evil”</b> </a>(Germany/Czech Republic/Iran) Mohammad Rasoulof conducts a compelling inquiry into the ethics of executioners. Four short dramas portray men who obey or resist orders. </p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Dear Comrades!” dramatizes a 1962 Russian strike in black and white.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Films Boutique</p></div></div>
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</div><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/dear-comrades/" target="_blank" ><b>“Dear Comrades!” </b></a>(Russia) Andrei Konchalovsky directs an arresting black-and-white period piece exhuming the June 1962 massacre of strikers in Novocherkassk. Deemed a state secret for decades, the incident is a lens on ideological purity and state treachery.</p><h4>DOCUMENTARIES</h4><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/fireball/" target="_blank" ><b>“Fireball: Visitors from Darker Worlds”</b> </a>(U.K., U.S.) Werner Herzog and University of Cambridge volcanologist Clive Oppenheimer co-direct a diverting essay on meteorites and those who obsess over them. Herzog indulges in his usual quest for weird wonders.</p><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/til-kingdom-come/" target="_blank" ><b>“Til Kingdom Come” </b></a>(Israel/UK/Norway) Maya Zinshtein observes three generations of Kentucky pastors and a two-generational Jewish charity. This is a disquieting take on evangelical leverage between the White House and right-wing Israeli politics. </p><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/the-prophet-and-space-aliens/" target="_blank" ><b>“The Prophet and the Space Aliens” </b></a>(Israel, Austria) Yoav Shamir engages the founder of the International Raëlian Movement in a playful case of access journalism. Come for the UFO love cult, stay for office hours with a Berkeley prof of Talmudic culture.</p><div class="Enhancement" data-align-center>
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“Notturno” registers the human toll of conflict at the Syria, Iraq, Kurdistan and Lebanon borders.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Provided</p></div></div>
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</div><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/notturno/" target="_blank" ><b>“Notturno”</b></a><b> </b>(Italy/France/Germany) Gianfranco Rosi (“Fire at Sea”) quietly depicts the unending tragedy on the borders of Syria, Iraq, Kurdistan and Lebanon. A sublime cinematographer, Rosi registers the horrific human toll of conflict on ISIS-tortured kids, institutionalized adults and others.</p><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/the-reason-i-jump/" target="_blank" ><b>“The Reason I Jump” </b></a>(U.S., U.K.) Quoting at length from a 2007 book by autistic teen Naoki Higashida, director Jerry Rothwell portrays autistic teens in Britain, India, Sierra Leone and the U.S. to let “neurotypicals” better understand the language challenges faced by people with autism. And this is mostly done with verbal imagery, not visual imagery.</p><h4>SHORTS</h4><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/shorts1-city-and-state/" target="_blank" ><b>“Shorts 1: What We’re Made Of (City and State)” </b></a>In “The Reversal,” Chicago filmmaker Jennifer Boles animates archival glass-plate photographs to document the reversal of the Chicago River. Visually ravishing and historically revealing. One of seven shorts in this program.</p><p><a class="Link" href="https://www.chicagofilmfestival.com/digifilm/shorts4-documentary/" target="_blank" ><b>“Shorts 4: The World As We Know It (Documentary)”</b> </a>The timely “Comrades” is verite reportage about street tactics of Hong Kong protestors. “How to Disappear” is a brilliant deconstruction of the videogame “Battlefield” where desertion is not an option. (Ironically, for the sake of social distancing, this year’s virtual festival discontinued its sidebar of VR immersive cinema.) Four other shorts stream in this highly recommended program.</p><div class="Enhancement FormEnhancement" data-align-center>
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https://chicago.suntimes.com/movies-and-tv/2020/10/13/21513793/chicago-international-film-festival-recommended-movies-to-see-streamingBill Stamets2019-10-27T12:24:11-05:002019-10-27T12:23:50-05:00Admiring Buddy Guy documentary will close the Chicago International Film Festival tonight
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<div class="Figure-content"><figcaption class="Figure-caption"><p>“The Torch” profiles Chicago bluesman Buddy Guy.</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Chicago International Film Festival</p></div></div>
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<p>Buddy Guy epitomizes “good guy.” That’s one takeaway from Jim Farrell’s admiring, affectionate documentary of the 83-year-old Chicago bluesman. </p><p>A world premiere, “The Torch” is the Closing Night film at 6 p.m. Sunday at the Chicago International Film Festival at AMC River East, 322 E. Illinois St. Farrell and Guy will appear.</p><p>Live performance footage, archival photos and personal anecdotes all contextualize Guy’s career in American cultural history. Chicago music photographer Paul Natkin shares tales. Carlos Santana highlights Guy’s “certain frequency, certain vocabulary.” </p><p>One focus is Guy’s lifelong generosity in mentoring musicians like Quinn Sullivan, a guitar prodigy from age 7.</p><p>Mayor Lori Lightfoot has proclaimed Sunday as Buddy Guy Day in Chicago in honor of “this titan of blues.” Admission is $33 for non-members of Cinema/Chicago. A $75 ticket includes seating in a “premium theater” and entry to an after-party. 6 p.m. Oct. 27</p><p>Also Sunday at the fest:</p><p><b>‘The Twentieth Century’ </b>(Canada) Matthew Rankin writes, directs and edits a madly imagined ascent of William Lyon Mackenzie King (Dan Beirne) to the office of Prime Minister of Canada.</p><p>Rankin told film blogger Jason Gorber he once read King’s life story: “I was really amazed by how maudlin, how hypersensitive and confused and bewildered and panic-stricken the diary was. It reminded me of my own!” </p><p>Shot on 16mm and Super-8, this dreamy revision of Canadian history chronicles King’s surreal career dating from 1899. Outlandish mommy issues and kinky civic rituals abound.</p><p>Little Charlotte (Satine Scarlett Montaz), a tubercular orphan, nearly steals the show in the opening scene. Expressionist sets and underground acting styles are inventive. This studied oddity is thoroughly original, yet redolent with signature touches of Winnipeg auteur Guy Maddin. <i>11 a.m. Oct. 27</i></p><p><i>Bill Stamets is a Chicago freelance writer.</i><br></p>
https://chicago.suntimes.com/2019/10/27/20934858/torch-buddy-guy-documentary-chicago-international-film-festivalBill Stamets2019-10-26T18:35:38-05:002019-10-26T18:35:23-05:00Today at the Chicago International Film Festival: ‘Ghost Tropic,’ ‘Initials S.G.,’ ‘Harriet’
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<div class="Figure-content"><figcaption class="Figure-caption"><p>‘Initials S.G.’</p></figcaption><span class="line"></span><div class="Figure-credit"><p>Chicago International Film Festival</p></div></div>
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<p>The Chicago International Film Festival continues through Sunday at AMC River East, 322 E. Illinois.</p><p><b>‘Ghost Tropic’ </b>(France) Flemish writer-director Bas Devos follows Khadija (Saadia Bentaieb), a 58-year-old office cleaner of Maghrebi background. On a break with co-workers she laughs very hard and very long at a joke about an outsider in a strange land. Then she makes her way home through Brussels at night, after a bit of bad luck on public transportation. Rendered on 16mm color film, her itinerary yields a nuanced European cityscape, as well as insight into a kind soul finding solace from strangers on the night shift. In one encounter she aids an ill homeless man and his dog. Karma ensues. <i>12:30 p.m. Oct. 26</i></p><p><b>‘Initials S.G.’ </b>(Argentina/Lebanon/U.S.) Rania Attieh and Daniel García co-write and co-direct what they call “a dark comedy of a deluded individual.” Sergio Garces (Diego Peretti) shares the initials of French singer Serge Gainsbourg, whose tunes he once covered in a Spanish-language LP. This film extra and porn actor gets picked up by Jane (the always amazing Julianne Nicholson), a film distributor from New York City who’s in Buenos Aires for a film festival. S.J. gets an award for appearing in 16 different entries. But the couple find themselves living out a seriocomic noir, complete with a nocturnal burial by the headlights of a car. Enjoy the edgy irony. <i>5:45 p.m. Oct. 26; 6:45 p.m. Oct. 27</i></p><p><b>`Harriet’ </b>(U.S.) Minty (Cynthia Erivo) escapes her Maryland owners and calls herself Harriet Tubman. Kasi Lemmons (“Eve’s Bayou”) directs and co-writes this rousing biopic about an underground railroad conductor who turns into a Union Army spy and leads African-Americans into combat against Confederate forces. It comes as no surprise that Lemmons pitched her Harriet as “a young action hero.” Long after Harriet’s proud renaming, her pursuit of liberty continues to this day in the usage “enslaved person” now upgrading the dehumanizing term “slave.” <i>8 p.m. Oct. 26 </i></p><p><i>Bill Stamets is a Chicago freelance writer.</i><br></p>
https://chicago.suntimes.com/2019/10/26/20934087/chicago-international-film-festival-ghost-tropic-initials-sg-harrietBill Stamets