Chicago Filmmakers – Saturday, 8pm
Following in the tradition
of Western authors such as Wallace Stegner and Gretel Ehrlich,
filmmaker Lee Anne Schmitt is obsessed with the landscape of possibility
that led the first industrialists to California, and the legacy they
left behind. Mining, logging, farming, oil and steel towns that were
established as a means to keep workers on a short leash have now been
all but abandoned by their original owners. Some are entirely vacant,
while others have lived on, but all are reminders of the environmental
impact that industry and then the military has left on the landscape.
Using voice-over narration, clips from contemporary radio—of the
religious and political variety—and found footage, Schmitt gives us a
history of and comment on 14 such places, and their demise. A timely
lesson in the current economic climate. Filmmaker Lee Anne Schmitt in
person. (2008, 77 min, 16mm) JH - Cine-File.info
Saturday, May 23, 2009
Pat O'Neill's THE DECAY OF FICTION (Experimental)
Doc Films (University of Chicago) - Friday, 7pm
When someone becomes a master in a commercial craft that becomes technologically obsolete, what is there left to do? For one thing, they can make films about places that have also outlived their original purpose, as Pat O'Neill does in this 2002 feature film. An optical printer by practice and occupation, O'Neill casts L.A.'s now demolished Ambassador Hotel as the protagonist and explores the corridors and cavities that were once the playground of Hollywood elites. Black and white ghosts float through the Cocoanut Grove nightclub providing snippets of dialogue of classic Noir films, and attempt to breathe life into the now empty opulence. Chants of "we want Bobby" are heard as we track through the kitchen that was the site of RFK's assassination, and a woman hypnotizes countless men in one of the upstairs suites. In the end, only devils and angels remain as the sun sets on our star, and perhaps on the glory of O'Neill's seamless camera and metaphor, holding on to the golden era of machination. Pat O’Neill in person. (2002, 74 min, 35mm) JH - Cine-File.info
When someone becomes a master in a commercial craft that becomes technologically obsolete, what is there left to do? For one thing, they can make films about places that have also outlived their original purpose, as Pat O'Neill does in this 2002 feature film. An optical printer by practice and occupation, O'Neill casts L.A.'s now demolished Ambassador Hotel as the protagonist and explores the corridors and cavities that were once the playground of Hollywood elites. Black and white ghosts float through the Cocoanut Grove nightclub providing snippets of dialogue of classic Noir films, and attempt to breathe life into the now empty opulence. Chants of "we want Bobby" are heard as we track through the kitchen that was the site of RFK's assassination, and a woman hypnotizes countless men in one of the upstairs suites. In the end, only devils and angels remain as the sun sets on our star, and perhaps on the glory of O'Neill's seamless camera and metaphor, holding on to the golden era of machination. Pat O’Neill in person. (2002, 74 min, 35mm) JH - Cine-File.info
Saturday, May 16, 2009
Jean-Luc Godard’s VIVRE SA VIE (Classic Revival
Music Box – Check Reader Movies for showtimes
If you think Godard's political, allegorical, theoretical approach to filmmaking always outshines his ability to produce believable and emotional portraiture, then check out VIVRE SA VIE, showing in a new print. His fourth feature tells the tale of a working class young woman, Nana (Anna Karina), as life goes from bad to worse. Despite the breakdown into chapters (complete with title cards) the film is at first an unstructured manifesto intended to persuade the audience that capitalism can only leads to the commoditization of all things, including our flesh. But this is merely a single thread in the complex nature of the film. Communication is flawed, character and cinema are experienced and molded, and there are more than thirteen ways to look at ones wife through a viewfinder. At times Godard is mimicking the tropes of documentary, at others he is relying on overt reference (Dreyer's THE PASSION OF JOAN OF ARC, for example), and at others he is doing what he does best (using framing and composition to make sure that no one present misunderstands the emotional distance a character feels). One would he hard pressed to find another film with such an abrupt and sad ending that still makes one leave the theater with a smile. Poetic, beautiful, and concise. (1962, 85 min, 35mm) JH - Cine-File.info
If you think Godard's political, allegorical, theoretical approach to filmmaking always outshines his ability to produce believable and emotional portraiture, then check out VIVRE SA VIE, showing in a new print. His fourth feature tells the tale of a working class young woman, Nana (Anna Karina), as life goes from bad to worse. Despite the breakdown into chapters (complete with title cards) the film is at first an unstructured manifesto intended to persuade the audience that capitalism can only leads to the commoditization of all things, including our flesh. But this is merely a single thread in the complex nature of the film. Communication is flawed, character and cinema are experienced and molded, and there are more than thirteen ways to look at ones wife through a viewfinder. At times Godard is mimicking the tropes of documentary, at others he is relying on overt reference (Dreyer's THE PASSION OF JOAN OF ARC, for example), and at others he is doing what he does best (using framing and composition to make sure that no one present misunderstands the emotional distance a character feels). One would he hard pressed to find another film with such an abrupt and sad ending that still makes one leave the theater with a smile. Poetic, beautiful, and concise. (1962, 85 min, 35mm) JH - Cine-File.info
Saturday, April 18, 2009
Films by Will Hindle (Experimental)
School of the Art Institute (112 S Michigan Ave, Rm. 1307) – Friday, 4:30pm
During a short period in the 1960s and '70s Will Hindle produced a body of work that rivals any filmmaker of the period. His optical effects are on par with SFX master Douglas Trumbull (of 2001 fame), and in WATERSMITH he uses this technical sophistication to present a masterwork that is simultaneously an ode to human athleticism à la Riefenstahl and an exploration of the gay male gaze. A subtle soundtrack of diagetic and nondiagetic water compliments the imagery of boys swimming without overpowering it. An unstylized presentation of reality marks Hindle’s films and in BILLABONG he veers closer to documentary when he turns his camera to a boys camp in Oregon. Also showing are 29: MERCI, MERCI, and SAINT FLOURNOY LOBOS-LOGOS AND THE EASTERN EUROPE FETUS TAXING JAPAN BRIDES IN WEST COAST PLACES SUCKING ALABAMA AIR. (1966-70, 83 min total, 16mm) JH - Cine-File.info
During a short period in the 1960s and '70s Will Hindle produced a body of work that rivals any filmmaker of the period. His optical effects are on par with SFX master Douglas Trumbull (of 2001 fame), and in WATERSMITH he uses this technical sophistication to present a masterwork that is simultaneously an ode to human athleticism à la Riefenstahl and an exploration of the gay male gaze. A subtle soundtrack of diagetic and nondiagetic water compliments the imagery of boys swimming without overpowering it. An unstylized presentation of reality marks Hindle’s films and in BILLABONG he veers closer to documentary when he turns his camera to a boys camp in Oregon. Also showing are 29: MERCI, MERCI, and SAINT FLOURNOY LOBOS-LOGOS AND THE EASTERN EUROPE FETUS TAXING JAPAN BRIDES IN WEST COAST PLACES SUCKING ALABAMA AIR. (1966-70, 83 min total, 16mm) JH - Cine-File.info
Saturday, March 28, 2009
A World Rattled of Habit: Films by Ben Rivers (Experimental)
Conversations at the Edge (Gene Siskel Film Center) – Thursday, 6pm
Over the last few years England’s Ben Rivers has consistently turned out fresh and simple experimental portraits of the rural life in Europe and the British Isles. His 16mm Cinemascope film AH, LIBERTY! (2007), about the farm life and machines of a small, isolated family, was awarded the Tiger Award for Short Film at the 2008 Rotterdam International Film Festival and alone is worth the price of admission. Rivers describes it as “A family’s place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape. The work aims at an idea of freedom, which is reflected in the hand-processed ’scope format, but is undercut with a sense of apocalyptic foreboding.” As a treat Rivers will show a work in progress, I KNOW WHERE I’M GOING, along with ASTIKA (2006), ORIGIN OF SPECIES (2008), and A WORLD RATTLED OF HABIT (2008). Rivers will be appearing in person and is tentatively showing three additional films of his choosing: the amazing SAME DAY NICE BISCOTTS (Luther Price, 2005), MEASURMENT OF OXFORD (Barry Kimm, 1989), and PRINCE HOTEL (Karl Kels, 1987/2003), if time allows. (1987-2008, approx. 90 min total, 16mm) JH - Cine-File.info
Over the last few years England’s Ben Rivers has consistently turned out fresh and simple experimental portraits of the rural life in Europe and the British Isles. His 16mm Cinemascope film AH, LIBERTY! (2007), about the farm life and machines of a small, isolated family, was awarded the Tiger Award for Short Film at the 2008 Rotterdam International Film Festival and alone is worth the price of admission. Rivers describes it as “A family’s place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape. The work aims at an idea of freedom, which is reflected in the hand-processed ’scope format, but is undercut with a sense of apocalyptic foreboding.” As a treat Rivers will show a work in progress, I KNOW WHERE I’M GOING, along with ASTIKA (2006), ORIGIN OF SPECIES (2008), and A WORLD RATTLED OF HABIT (2008). Rivers will be appearing in person and is tentatively showing three additional films of his choosing: the amazing SAME DAY NICE BISCOTTS (Luther Price, 2005), MEASURMENT OF OXFORD (Barry Kimm, 1989), and PRINCE HOTEL (Karl Kels, 1987/2003), if time allows. (1987-2008, approx. 90 min total, 16mm) JH - Cine-File.info
Saturday, March 14, 2009
Cinema, Nature, Ecology Series: Local Landscapes (Experimental/Essay)
Film Studies Center (U of C) - Friday, 6pm (Stratman) & 7:45pm (Comerford/Brown)
Deborah Stratman, Thomas Comerford, and Bill Brown make work that is simultaneously documentary and experimental, landscape portrait and essay, personal and accessible. Three of the most engaging filmmakers working today, all are either current or former locals. Contextualized together here, their films become a mapping of the contemporary American experience and power structure. Comerford’s LAND MARKED/MARQUETTE uses locations and monuments in the Chicago area connected to 17th century explorer Jacques Marquette as a jumping-off point for reflection on representations of history and how our modern city has transformed land that was once prairie. In O’ER THE LAND, Stratman ponders the multitude of definitions that Americans have for “Freedom” by combining footage of high-school football, war re-enactments, and machine gun festivals, focusing on the participants and refusing to tell the viewer what to think. She combines these pastimes with the story of U.S. Marine Colonel William Rankin who survived a 40-minute descent through a thunderstorm in 1959 after being forced to eject from his aircraft at 47,000 feet. Bill Brown, who describes his films as postcards of pretty pictures with voice-over instead of writing, will show THE OTHER SIDE, a film about the US-Mexico border that uses migrant activists and the natural features of the desert Southwest to investigate political boundaries in a geographic and historical manner. After the screenings the artists will engage in a roundtable discussion that is sure to be the highlight of the evening. Also screening: IN ORDER NOT TO BE HERE (Stratman), FIGURES IN THE LANDSCAPE (Comerford), and CHICAGO DETROIT SPLIT (Brown & Comerford). (6pm: 2002 & 2008, 84 min total, 16mm / 7:45: 2002-06, 88 min total, 16mm) JH - Cine-File.info
Deborah Stratman, Thomas Comerford, and Bill Brown make work that is simultaneously documentary and experimental, landscape portrait and essay, personal and accessible. Three of the most engaging filmmakers working today, all are either current or former locals. Contextualized together here, their films become a mapping of the contemporary American experience and power structure. Comerford’s LAND MARKED/MARQUETTE uses locations and monuments in the Chicago area connected to 17th century explorer Jacques Marquette as a jumping-off point for reflection on representations of history and how our modern city has transformed land that was once prairie. In O’ER THE LAND, Stratman ponders the multitude of definitions that Americans have for “Freedom” by combining footage of high-school football, war re-enactments, and machine gun festivals, focusing on the participants and refusing to tell the viewer what to think. She combines these pastimes with the story of U.S. Marine Colonel William Rankin who survived a 40-minute descent through a thunderstorm in 1959 after being forced to eject from his aircraft at 47,000 feet. Bill Brown, who describes his films as postcards of pretty pictures with voice-over instead of writing, will show THE OTHER SIDE, a film about the US-Mexico border that uses migrant activists and the natural features of the desert Southwest to investigate political boundaries in a geographic and historical manner. After the screenings the artists will engage in a roundtable discussion that is sure to be the highlight of the evening. Also screening: IN ORDER NOT TO BE HERE (Stratman), FIGURES IN THE LANDSCAPE (Comerford), and CHICAGO DETROIT SPLIT (Brown & Comerford). (6pm: 2002 & 2008, 84 min total, 16mm / 7:45: 2002-06, 88 min total, 16mm) JH - Cine-File.info
Saturday, March 7, 2009
D.A. Pennebaker’s DON’T LOOK BACK (Documentary)
Block Cinema (Northwestern University) – Thursday, 8pm
A driving force in the Direct Cinema movement, documentary director D.A. Pennebaker made his reputation with this 1967 film about Bob Dylan on the road in England. Taking place almost exclusively in crowded back seats, green rooms, and hotel suites, we watch from the corner as The Star holds court with soon-to-be ex-girlfriend Joan Baez, Alan Price, and Donovan, who is put firmly in his place when Dylan’s insecurity and arrogance manifest themselves. A simple portrait of the artist at 23, the camera rolls without much intervention, and engages the viewer firmly as we march towards a final concert at the Royal Albert Hall without shying away from his negative traits. Dylan now claims he was acting throughout the film, but eloquently sums up the Pennebaker approach when he tells a Time magazine reporter “The truth is just a plain picture.” (1967, 96 min, 35mm) JH - Cine-File.info
A driving force in the Direct Cinema movement, documentary director D.A. Pennebaker made his reputation with this 1967 film about Bob Dylan on the road in England. Taking place almost exclusively in crowded back seats, green rooms, and hotel suites, we watch from the corner as The Star holds court with soon-to-be ex-girlfriend Joan Baez, Alan Price, and Donovan, who is put firmly in his place when Dylan’s insecurity and arrogance manifest themselves. A simple portrait of the artist at 23, the camera rolls without much intervention, and engages the viewer firmly as we march towards a final concert at the Royal Albert Hall without shying away from his negative traits. Dylan now claims he was acting throughout the film, but eloquently sums up the Pennebaker approach when he tells a Time magazine reporter “The truth is just a plain picture.” (1967, 96 min, 35mm) JH - Cine-File.info
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