Kristina Buozyte’s THE COLLECTRESS (Lithuania)

Gene Siskel Film Center - Saturday, 5:30pm and Thursday, 8pm
The voyeuristic tendencies of humanity are spilling themselves all over the web as you read this. Cell phone footage of violence and misery are as instantly disseminated and have replaced the daily newspaper of the 20th Century. No longer do we wait for tomorrow, and no longer do we take time to process the events we hear about through the media. Or in our own lives. The immediacy of the mass recounting of history has lead to a numbing of our emotions and a disconnection from others. Or so the argument goes. In one of the smartest films about the continuing intrusion of technology in our lives, the ability to document experience is posited as the only means for reconnecting with emotion. After the death of her father renders speech therapist Gaille void of feeling, she stumbles upon a drunken auteur disguised as a low-grade video editor. Living amongst filth and bottles of vodka, he turns weddings into farces, where brides are ugly and guests gorge on reception food like pigs. He edits some footage of Gaille working for her to present at a conference, and she realizes that only through seeing herself on tape does she reconnect with her feelings. She begins to have herself taped as she engages in a variety of stunts. The pranks begin harmlessly enough, with the taping of Gaille crashing a wedding and kissing the unexpecting groom, but she needs to keep upping the ante. Of course this self-reflexive voyeurism has a price to pay, and Gaille systematically severs her connections to everyone around her. Although comparisons to VIDEODROME are not unfounded, where Cronenberg tried to shock us into agreeing with his thesis, Buozyte uses her video sequences to humanize her characters. This film shows a deft eye for visual style and a light touch in pacing, somewhat remarkable for an MFA thesis film. Expect more from Buozyte in the future. (2008, 84 min, 35mm) JH - Cine-File.info

Videos by Lynne Sachs (Experimental Documentary/Narrative)

Chicago Filmmakers - Friday, 8pm
Film Studies Center - Saturday, 7pm
For twenty-five years Lynne Sachs has been making work that seek to explain the universal elements of human experience that emerge from documenting first person perspectives. History, or at least the knowledge of historical events, shapes how each of us views life, and it is this connection between past and present that remains central in her newest works. Her films acknowledge the limitations inherent in the documentary genre, and perhaps no more so than in her decade-long five-film series I AM NOT A WAR PHOTOGRAPHER. This weekend she will present the most recent installment in the series, LAST HAPPY DAYS (2009, 37 min, DVD), at Chicago Filmmakers and the Film Studies Center at University of Chicago. Sachs paints a picture of a distant relative whose life story encompasses both the best and worst qualities of life in the twentieth century. Originally a doctor in his native Hungary, Sandor Lenard fled the Nazis in 1938, first to Rome where he worked for the US Army reconstructing the bones of dead soldiers. Eventually he settled in the Brazilian Amazon and gained brief fame after translating Winnie the Pooh into Latin. Reflecting on our collective obsession with genealogy, Sachs approaches her portraiture as an essay on the horrors of war as well as the motivation behind artistic practice. To complete each evening, Chicago Filmmakers pairs this film with Sachs first narrative film, WIND IN OUR HAIR (2009, 42 min, DVD), inspired by the writings of Julio Cortazar, and the FSC pairs it with a new piece about Iraqi burial rituals translated into Latin, COSMETIC SURGERY FOR CORPSES (2010, 10 min, DVD). Lynne Sachs in person at both screenings. JH - Cine-File.info

Hellmuth Costard's FOOTBALL AS NEVER BEFORE (Documentary Revival)

Hellmuth Costard's FOOTBALL AS NEVER BEFORE (Documentary Revival)
White Light Cinema at The Nightingale - Friday, 8pm
The most apparent truth conveyed in this film is that, for George Best, being a professional athlete was a serious, patient, isolating, and precise occupation. The more poignant truth is that the core of all rituals infused with mysticism is the interplay of rhythm and duration, syntax and meaning. Best is ostensibly the star of the film as he paces like a caged tiger while someone off screen sets up a free kick, jogs casually upfield as spectators yell insults, waits on the wing with his hands on his hips like a bored schoolboy, and sprints hard for a slide tackle while supporters chant sing-songy rhymes. All the while Costard's six cameras keep him in their sites, and use Best as a puppet in what is truly a remarkable attempt at making cinema that exists outside the language of narrative. Never do we get a cutaway, an insert shot, or a reaction. As the game unfolds in real time we are unaware of score or the flow, left alone with Best to ponder the action, save for the few moments when the ball comes to him and gets passed away. Despite the apparent voyeurism of the approach, this "actor" is not a star we get titillation from gazing upon, nor is the camera's eye that of the unseen "other." From our usual perch above the playing field we are alone with an image of Best and his shadow, surrounded by the field, and the constant sound of the crowd. All attempts to engage with the game are thwarted by the cameras' unrelenting focus on one individual, for a story needs characters, and characters need conflicts to keep us interested. Finally, with a few minutes left in the first half, there is a moment of tension. Best dribbles across the top of the box, and launches a missile across his body towards goal, only to summersault to the pitch. Emotion threatens to make an appearance as the crowd cheers Best's effort, but we are not allowed to share in it: we are not participants in this spectacle. We are participants in the ritual of cinema, but removed from the expected syntax of hero and exposition we cannot recognize the structure and rhythm. In a typical film we are presented with a plausible reality on the screen, and we can predict what will happen, or at least be surprised by it. In our lives we place these waking daydreams of narrative artwork into a category called illusion. But when a graphic appears to show the score still standing at 0-0, Costard reminds us that in cinema, reality is always an illusion. (1971, 105 min, 16mm on DVD) JH - Cine-File.info

Philipp Stölzl's NORTH FACE (New German)

Philipp Stölzl's NORTH FACE (New German)
Music Box - Check venue website for showtimes
Rarely on Cine-File do we cover a film that feels like a Clint Eastwood sports epic (unless it is a Clint Eastwood sports epic, viz. INVICTUS), but in this case the film is a 2008 German release that has received little to no attention in the States. Part adventure-epic, part journalist drama, and part love story, it's all wonderfully shot blowing snow and foreboding rock crags that echo the bergfilmes of the '30's. Set in 1936, when everyone wanted to be the first to summit the north face of Switzerland's "the Eiger"--the last great unsolved problem of the Alps. Teams from Germany, Austria, Italy, and France were all competing to prove their superiority as mountaineers and as a nation. And unlike other challenges of human endurance, this one had a hotel with a lookout balcony and a cog railway through the interior of the mountain (that still boasts the highest station in Europe) that made this dangerous game of bravado into a spectator sport. What makes this story of two unsuccessful German climbers and the journalist who covered them worthwhile is the attention to detail that captures the climbing experience in sight and sound. The camera dangles on a rope next to the climbers, and at times we can barely hear their dialogue over the howling wind. The story becomes secondary after the first hour, as we already suspect their deadly fate. We stay to watch while the landscape becomes all-consuming, and devours our "heroes" like an ogre. (2008, 121 min, 35mm) - Cine-File.info

Pat O'Neill's WATER AND POWER (Experimental Revival)

Experimental Film Society (SAIC, 112 S Michigan Ave, Rm. 1307)  - Tuesday, 4:30pm
In early films like 1967's 7362 or 1971's RUNS GOOD Pat O'Neill used an Optical Printer and sophisticated matting effects to play, as if he was crafting short sonnet-films. By 1989 he outgrew the trickster's humor of special effects and gave us his first bit of epic poetry with WATER AND POWER. An ode to the city of Los Angeles, layered images juxtapose facets the multi-ethnic metropolis that sprouted from the desert in Southern California to become a Mecca for the American Dream, and a synonym for traffic jams and capitalist excess. Found footage is mixed with time-lapse shots and staged sequences. We move from city to desert, and back again along the pipelines that bring water to the thirsty machine. He wants to show us the energy of his city and how the parts contribute to the whole, but as the New York Times said when the film was released, "Mr. O'Neill's major concern is the power of film to redefine and control all images, even natural ones." Reductionism would never befit an artistic exploration of any urban area, and O'Neill's complexity as a filmmaker seeks to touch on the range of surprises that make LA unique, as a story and an experiment. (1989, 54 min, 16mm) JH - Cine-File.info

Films by Tom Palazzolo & Morton Heilig (Doc / Narrative Shorts Revival)

Chicago Filmmakers - Friday, 8pm
If the name Tommy Chicago doesn't ring a bell, you better ask somebody. Since he moved to the city in the early '60s to study at the Art Institute, Palazzolo has made work that captures the diversity (read: ethnic enclaves), characters, and quirks of the Midwestern Metropolis. An accomplished painter and photographer with wit to spare, he's never tried to imitate the tropes of costal experimental film stalwarts. Instead he's used (and reused) his heartland footage to craft films with joie-de-vivre and irreverence. Palazzolo edits by intuition rather than theory, and even when his technique seems crude his heart makes up for it. Tonight's program, titled Gone Rogue: An Iconoclastic Look at Church and State, features four of his shorts and what he says is his favorite film about the early sixties. If counterculture is what you're after, then CAMPAIGN (1968/2009) will provide you with the recommended daily allowance of Abbie Hoffman and Allen Ginsburg. The original Mayor Daley battles hippies and chaos, and gleefully sends his goons to keep the peace. Advantageously shot during the '68 Democratic convention, it ranks right up there with MEDIUM COOL as an accidental comment on the generational divide the event reinforced. Less political is TATTOOED LADY (1967/2009). Covering the long-since defunct Riverview Park, the camera lets the real freaks perform and enrapture us into believing that, even in 1967, this north-side amusement park wasn't downtrodden. The most recent film showing is a comedic collaboration with Second City, VATICAN WORLD (1992), and features Jon Favreau (credited as Favro) in his film debut. Favreau plays a young, near-sighted pope who enlists a PR man to increase the market share of Catholicism. Also screening is Palazzolo's HEY GIRLS (1990), based on a Heather McAdams cartoon, and Morton Heilig's ASSEMBLY LINE (1961), which has a tone reminiscent of classic 50's educational films. An optimistic young factory worker goes downtown to blow his weekly earnings but, instead of fun and camaraderie, he finds scams and loneliness and ends up at home with one more rung in the ladder of his banal industrial life. Palazzolo in person. (1961-92, approx. 70 min total, 16mm and DVD) JH - Cine-File.info

Critical Mass: The Legacy of Hollis Frampton

Film Studies Center (University of Chicago) – Saturday and Sunday, beginning 10am each day (9:30am Continental Breakfast)
The citywide, multi-venue celebration of Hollis Frampton wraps up this weekend with three days of inquiry and exploration. Legendary filmmaker and Frampton collaborator Michael Snow kicks it off Friday night with a sold-out reading of Frampton’s performative A LECTURE. There's still a slim chance you can get in if someone doesn't show up, and it's worth taking the risk. Often Frampton's films attempt to utilize the cinematic form to analyze its own psychosomatic processes, and while successful, they can be rather cloistered. By contrast, with A LECTURE he crafted a performance between narrator and projectionist that, although germane to an academic discussion of how one interacts with the silver screen, is more-so a tale of the people and tools that mesh and fight before we get to sit back and enjoy Bogie and Bacall. Self-consciously deconstructing the social act of going to the movies sounds boring, but Frampton's intelligence and humor make it fun. As the performance begins a voice asks: “Please turn out the lights. If we're going to talk about movies, we might as well do it in the dark.” It's interesting that he's says “we,” because for the next sixty minutes or so “we” will sit passively while “he” uses the essence of cinema to engulf us. We are one with the world on the screen. The voice emanating from the speakers of the auditorium was always intended to vary, and the choice of Snow for Friday should be an inspired one. On Saturday and Sunday all are welcome when some of the top scholars, historians, and makers of experimental cinema hold court (along with a healthy dose of upcoming ones) with a series of panels looking at Frampton's work and legacy. Participants include historian and author Scott MacDonald, filmmaker and preservationist Bill Brand, filmmaker and musician Tony Conrad, historian and author P. Adams Sitney, film and video maker Keith Sanborn, Canadian filmmaker and author Bruce Elder, SAIC’s Bruce Jenkins, and the U of C’s Tom Gunning, who organized the conference. JH - Cine-File.info

HC Potter's HELLZAPOPPIN' (American Revival)

Bank of America Cinema - Saturday, 8pm
This is what happens when a Broadway show that was basically vaudeville gets made into a film. Disconnected and thin on plot, this is nevertheless a cinematic plum. Our hosts for the evening are Olson and Johnson, a comedy duo made up of two straight men who can't help but talk to the audience and yell at the projectionist. There's some funny gags, a song or two from "the Big Mouth," Martha Raye, and a great Lindy Hop dance scene featuring Frankie Manning, but the shining moments are when the characters get to play with the fourth wall. In what can only be the inspiration for MST3K, the opening sequence takes place on a soundstage where Olson and Johnson argue with a director and screenwriter about how to turn their show into a movie. They sit down to watch some footage covering the tacked-on love story, and make up their own dialog for the on screen action before seamlessly becoming part of it. Despite failing to capture the mythic energy of the stage show with which it shares a name, HELLZAPOPPIN' still pleases almost 70 years later. (1941, 84 min, 35mm) JH - Cine-File.info

Lisandro Alonso's LIVERPOOL (New Argentinean)

Facets Cinémathèque - Saturday 1pm and Sunday, 1pm and 3pm
Distance. Space. Solitude. With a minimum of dialog and obvious flair, Alonso explores these themes as both form and content. When we drop in on our protagonist, Farrel (Juan Fernández), he is aboard a shipping vessel. Although he interacts with his shipmates and is not obtuse, conversations consist of few words and no sharing. One gets the impression that he prefers spending his down time alone, smoking cigarettes on the deck and starring at the endless ocean. When he says that he is going on shore leave there is little emotion in his voice, as if time and location are irrelevant to him. But time and location are of utmost importance to Alonso and his film. As Farrel journeys from an unnamed port city to his parent's home in a run-down logging camp the camera keeps its distance, allowing the viewer to take in the snow-covered mountains of Argentina's landscape. Though the landscape is gorgeous, our character is not. The long takes show Farrel as he packs his meager belongings, watches TV while he waits for a ride, and walks the final distance to his home. Our attention is spent on perfunctory actions, not moments of triumph or change. He does not show emotion, and one feels pity for him, but not sorrow. We know he lacks connections to this place--or to any other--and has long since stopped caring. And ultimately so do we stop caring about him, as the film shifts to follow Farrel's discarded daughter for the final fifteen minutes. Every shot of LIVERPOOL is mundane yet precise, restrained and enunciated. An economy of detail and drama are Alonso's tools here, and their power is mighty. (2008, 84 min, 35mm) JH - Cine-File.info

David Lynch's BLUE VELVET (American Revival/Cult)

Doc Films (University of Chicago) - Wednesday, 7 and 9:30pm
This is where the legend really began. It's curious to think how Lynch's career would have developed if DUNE (1984) had not been a box office failure, but cinema history can thank him for not playing it safe with this rebound project. Though Lynch had already made three features, VELVET was the first full articulation of his core theme of the evil that lurks in small towns everywhere. Not the outright surrealist endeavor that was ERASERHEAD, it is also not the most accessible of narratives. Dark, violent, sexual, and reeking of 1963 suburbia, the film is at times a noir mystery and at others a violent thriller. Many of the visual symbols that would populate TWIN PEAKS are introduced here, such as red curtains appearing when danger is present, and Lynch's continued growth as a complete cinematic artist is evident. Despite having a cast that didn't feature a legitimate star (Dennis Hopper may be the exception, but his career was in the dumps when he was cast...as the third choice), the film earned Lynch his second Academy Award nomination for Best Picture, as well as praise from critics throughout the world. It's also notable that Kyle MacLachlan (essentially playing Dale Cooper) might never have worked again if not for his excellent performance. Still dangerous twenty years later, the film is as gorgeous as it is classic. (1986, 120 min, 35mm) JH - Cine-File.info