CINE-FILE: Cine-List

Bill Douglas' MY CHILDHOOD & MY AIN FOLK (British Revival)
Doc Films (University of Chicago) — Sunday, 7pm
Like his contemporary Terence Davies, Bill Douglas began his career with a trilogy of unsentimental, autobiographical black-and-white films; the first two--the longish shorts MY CHILDHOOD and MY AIN FOLK--depict the impoverished childhood of Douglas' alter ego, Jamie (Stephen Archibald), in 1940s Scotland. A lifelong collector of early cinema artifacts, Douglas approached filmmaking with a silent movie mindset; his use of landscapes, visual rhyme, and--in MY AIN FOLK--fast, associative editing suggests a sort of ultra-bleak Aleksandr Dovzhenko. Despite their meager government-funded budgets, Douglas' films are first-and-foremost sensory experiences; this screening presents a rare opportunity to see them on the big screen. (1972 / 1973, 101 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.

Robert Bresson's FOUR NIGHTS OF A DREAMER & MOUCHETTE (French Revivals)
Gene Siskel Film Center — Friday, 6pm and Saturday, 5pm (Four Nights) & Sunday, 3:15pm and Monday, 8pm (Mouchette)
A film so good it ought to be illegal, FOUR NIGHTS OF A DREAMER has been so inaccessible in the last 30 years it might as well have been illegal: the best existing copy is a rip of an atrocious, low-res projectionist cam, and perhaps its comparative unavailability inspired the legions of filmmakers who have cribbed from it profitably. Adapted (like James Gray's TWO LOVERS) from Dostoyevsky's White Nights, one immediately recognizes its sensitive, romantically misguided flâneur protagonist from TAXI DRIVER or José Luis Guerín's IN THE CITY OF SYLVIA; and certainly the great recent films of Eugène Green (LE PONT DES ARTS, THE PORTUGUESE NUN) can be seen as reworkings of the essential FOUR NIGHTS vibe: the urban contradictions of expressionless emotion, passionate observation, and effortless virtuosity. Produced just as the radical innovations of the late 1960s in American (and South American) folk music were reaching France, the plot is increasingly interrupted by unforgettably sublime outdoor musical performances, as if the film itself had become lost in some reverie, undistracted by the demands of narrative. (Those demands are also comically parodied in a film-within-a-film that basically resembles RESERVOIR DOGS.) Today, above all, FOUR NIGHTS represents the opposing art-house pole of the Oscar-nominated MIDNIGHT IN PARIS: on the same dimly lit streets that led Woody Allen to celebrate the self-congratulatory, nostalgic aesthetics of institutionally-educated dilettantes, Bresson divines what infinite melancholy remains for the increasingly individualized, isolated connoisseurs. If only there was a way to tell them to come see this on 35mm. (1971, 87 min, 35mm) MC
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The bleakest of Bresson's meditations on misery, MOUCHETTE feels every bit the logical extension of his previous AU HASARD BALTHAZAR, but here with specific focus on the realm of human suffering. Abused and overburdened at home, ridiculed at school by classmates and teachers alike, the life of country schoolgirl Mouchette is presented on no uncertain terms; the world for her is a living hell. In the title role, Nadine Nortier is the apotheosis of Bresson's actor/model doctrine. Her one-off performance is heartbreaking, but also honest and raw, stripped of artifice to a degree rarely seen in child actors. Her finest moment lies in the joyful release of the carnival scene, where an oppressive world takes a backseat to bumper cars and a boy, and from under her downtrodden façade emerges genuine warmth. But with the arrival of her alcoholic father, this exuberant reprieve is cut unceremoniously short, and Mouchette slides back into her role as supreme pariah of 60s cinema. Bresson had always possessed a fascination with the human spirit under desperate times (he had, after all, spent a year in a POW camp during World War II), but by 1967, this was coupled with an underlying cynicism present in the 65-year-old director's films. That cloud hangs over MOUCHETTE right up through the cold and uncompromising final scene, a testament to the devastating punch minimalism can pack, and an all-around unshakable slice of filmmaking. (1967, 78 min, 35mm) TJ
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More info at www.siskelfilmcenter.org.

Robert Clampett's THE GREAT PIGGY BANK ROBBERY (Cartoon Revival) & Billy Wilder's THE PRIVATE LIFE OF SHERLOCK HOLMES (American Revival)
Northwest Chicago Film Society (at the Portage) — Wednesday, 7:30pm
One of the few unqualified masterpieces of world cinema, Clampett's tremendous THE GREAT PIGGY BANK ROBBERY showcases the director's unsurpassed mastery of drawn animation like no other. As 'Duck Twacy,' Daffy Duck contorts himself in a series of rigorously impossible ways: his eyeballs peer around corners, his head squishes and elongates as he twists to answer the telephone, his body disintegrates itself to escape from fisticuffs, fleeing the fight like milk squeezed from a fist. The most controversial and brilliant of the Warner Bros. animators, Clampett eschewed at all times the merely possible in pursuit of the flabbergasting, developing in the short years of his active career an aesthetic perhaps more truly violent and terrifying than any seen since: in its willingness to destroy the world for the sake of a joke consisting in a single distortion in it, comedy and horror, pain and pleasure are made ruthlessly identical. This very late entry in his tenure at Warner Bros. displays his interests at their purest, fully exploited and integrated into the structure of seven minutes of madness. Under no circumstances should this be missed. It's screening alongside Billy Wilder's uncomfortable THE PRIVATE LIFE OF SHERLOCK HOLMES, as different a film as can be imagined. Where Clampett's frame practically explodes with energy, Wilder stages his foray into Holmesiana in luxurious exactitude, excited at any opportunity to linger on a dusty track, a bit of new-old-fashioned machinery, or an obsolete article of clothing. Subtle anamorphic compositions perform elaborate suspension acts, refusing to reveal their secrets not to heighten suspense but to tease out yet another big-hearted joke within the mise-en-scene, while Wilder's Holmes is a figure not just of cliché genius but of genuine filthiness, a leering, metrosexual detective inhabiting a world staged and shot as though every shadow contains a clue, and every clue a dirty pun. Holmes purists tend to loathe Wilder's revisionist reading, for it turns every convention from the A. C. Doyle stories entirely inside-out and renders the Great Detective not just a fool but very nearly a precipitator of the first World War. Wilder purists tend to view it with despair, as nearly an hour was excised over Wilder's strenuous objections by the studio, never to return. But even in mutilated form, this is Wilder's crowning achievement, a work that deeply reimagines an indelible character by treating his historicity more seriously than any other Sherlock Holmes film. (Piggy Bank: 1946, 7 min, 16mm; Holmes: 1970, 125 min, 35mm) KB
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More info at www.northwestchicagofilmsociety.org.

Mikio Naruse's UNTAMED (Japanese Revival)
Doc Films (University of Chicago) — Monday, 7pm
Like many of Mikio Naruse's longer features, this Meiji Era-set drama has an episodic, cyclical plot, following headstrong Oshima (Hideko Takamine) from one dramatic vignette to another, each one ending with our heroine more or less where she started--if not worse off. The vision that emerges is overwhelmingly pessimistic; Oshima is easily one of the most independent protagonists in the Naruse-Takamine oeuvre (Naruse himself described her as the "opposite" of the Takamine character in FLOATING CLOUDS), which makes her plight--betrayed, abandoned, and shunted off at every available opportunity--seem even more desperate and gives the nominally happy ending a sour aftertaste. (1957, 120 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.

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Bela Tarr's THE MAN FROM LONDON (Contemporary International)
Gene Siskel Film Center — Friday, 7:45pm and Tuesday, 6pm
By the late 2000s, we finally found a place for Bela Tarr movies. But maybe not for new Bela Tarr movies. When Facets finally put SATANTANGO (1994) out on DVD in 2008, it was that release that was heralded while THE MAN FROM LONDON was ignored on the festival circuit. Many have complained that the film is "style for the sake of style," as though cinema consists of something other than style and that a tracking shot represents less substance than dialogue. At this point, Tarr's style can't be separated from what he means to express: he isn't trying to bend the world to fit a set of techniques, but using those techniques (slow zooms, long takes, black-and-white film stock, post-synced sound) as a launching point for the creation of a world; every movement of the dolly establishes a new geography. If you're gonna complain that the action of a Tarr is "unrealistically" slow, you might as well complain about the coincidences of a Hitchcock or the rapport police and thieves enjoy in a Mann. The film's soundtrack, which is as musique concrete as PLAYTIME's, combines Mihaly Vig's synth strings with Tarkovsky's (or are they Fassbinder's? or maybe even Welles'?) post-synced voices. Yeah, sure, even the current version of THE MAN FROM LONDON, re-dubbed following complaints about the voice-acting at Cannes, is as jarring in its mismatch of voices as an Americanized giallo. But that isn't a deficiency. There are no deficiencies in a movie where everything is intentional. THE MAN FROM LONDON's capriccio is a glum French port, populated with little lost men imported wholesale from the opening shot of WERCKMEISTER HARMONIES. Maloin (Miroslav Krobot), his jacket collar permanently turned up, operates a railroad switchyard by the docks. The half-hour opening sequence, a virtuoso example of Tarr's directing, has more than a little of De Palma's SNAKE EYES to it: the first visible cut occurs roughly 13 1/2 minutes in, and this dialogue-less series of dollies, zoom-ins, zoom-outs, and measured movements of the camera crane creates a tiny universe of half-noticed intrigues and sleepy tension, introducing every mystery the remainder of the film unpacks, if not solves. There's a suitcase, a ship (as menacing as that ferry in THE GHOST WRITER) and a few men who hide in the shadows. Whatever you may think of the slow movement of camera in THE MAN FROM LONDON, you can never be completely sure where that camera will go. THE MAN FROM LONDON restores mystery to mysteries. The wind, fog and rain, which always arrive on cue, may be fake, but the sense of wonder is genuine. SAIC professor and filmmaker Dan Eisenberg lectures at the Tuesday screening. (2007, 139 min, 35mm) IV
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More info at www.siskelfilmcenter.org.

Dennis Hopper's THE LAST MOVIE (American Revival)
Block Cinema (Northwestern University) — Friday, 7pm
Hot off the unexpected success of EASY RIDER, Dennis Hopper was give complete creative control and a considerable amount of studio funding to make this quasi-fable about a stuntman (Hopper) who gets roped into a movie cargo cult in the jungles of Peru. Shot on location with a cast seemingly composed of whoever Hopper felt like hanging out with at the time—including Sam Fuller, Kris Kristofferson, Michelle Phillips, Peter Fonda, Sylvia Miles and Dean Stockwell—and edited over the course of a year at Hopper's remote, gun-and-groupie-filled compound, it's a jumbled, intentionally-fragmentary mess—but also a singular and serious (albeit coked-up) artistic statement by a man attempting to make an anti-Hollywood movie on Hollywood's dime. Hopper might've not accomplished everything he set out to do, but the result is still unpredictable and one-of-a-kind. (1971, 108 min, 35mm) IV
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More info at www.blockmuseum.northwestern.edu.

Sergio Corbucci's NAVAJO JOE (Italian Revival)
Doc Films (University of Chicago) — Wednesday, 7 and 9pm
Brusquer and visually more brutish than his contemporary (and longtime friend) Sergio Leone, the prolific Sergio Corbucci had an equal—if not greater—influence on the development of the Italian Western; while Leone made the genre respectable by giving it a highfalutin' patina of decay and decline, Corbucci brought on the blood'n'guts, cranking up the meanspiritedness until it solidified into something like a worldview. Made the same year as his seminal DJANGO, NAVAJO JOE centers on a Navajo Indian (Burt Reynolds, of all people) seeking vengeance against the bandits who attacked his village; the revenge set-up is typically Corbuccian, as is the brutal, bloody conclusion. (1966, 93 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.

John Huston's THE TREASURE OF THE SIERRA MADRE (American Revival)
Doc Films (University of Chicago) — Tuesday, 7pm
THE TREASURE OF THE SIERRA MADRE stars Humphrey Bogart and Tim Holt as drifters named Dobbs and Curtin who eagerly join an old prospector, Howard (Walter Huston), in the search for gold in Mexico. They find and mine the gold very early, so the story is about keeping it. Although "civilized," the determined prospectors cause a greater threat to one another than any other factor in the wilds. Huston's plot and dialogue explore the theme of greed, which gives rise to theft and murder. Can a moral individual exist in a capitalist society, or are we all corrupted by money? Toward the beginning of the film, another drifter tells Howard that gold is valuable because it is scarce. Howard disagrees, "A thousand men, say, go searchin' for gold. After six months, one of them's lucky, one out of a thousand. His find represents not only his own labor, but that of nine hundred and ninety-nine others to boot. That's six thousand months, five hundred years, scrabblin' over a mountain, goin' hungry and thirsty. An ounce of gold, mister, is worth what it is because of the human labor that went into the findin' and the gettin' of it...There's no other explanation, mister. Gold itself ain't good for nothing except makin' jewelry with and gold teeth." Yet, Dobbs and Curtin do not treasure gold for Howard's reason nor the labor of men other than themselves. They imbue it with the qualities of a chimera, and as a result, it immediately transcends mere objecthood. The men's greed, especially Dobbs', leads Huston to also explore the theme of illusion, which does not constitute an object but exists in the human mind. When Dobbs wrongly believes that he spots gold, he becomes transfixed as it glitters in the sunshine, although it is in fact pyrite or fool's gold; he displays the same reaction when it turns into his property. The early fascination escalates to paranoia that Howard or Curtin will steal his gold. His delusions ultimately devolve into madness and the actions that such a state of mind commands. In his review of the film, James Agee celebrated the quality that Jacques Rivette later determined as the secret to Howard Hawk's genius. Agee revealed, "Nominally an adventure story, this is really an exploration of character as revealed in vivid action; and character and action yield revelations of their own, political, metaphysical, moral, and above all, poetic." (1948, 126 min, 16mm) CW
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More info at www.docfilms.uchicago.edu.

Ti West's THE INNKEEPERS (New American)
Music Box — Check Venue website for showtimes
A couple of schmoes (Sara Paxton, Pat Healy) work their last shifts at a bankrupt—and possibly haunted—New England hotel in the latest from low-key throwback horror specialist Ti West. The essence of West's style is a reversal of the usual ratio of drama to genre action: the shocking stuff is reduced to a compact minimum (in this case, the last 20 or so minutes), and build-up and details are expanded upon until they nearly swallow up the whole movie. West knows how to craft a creepy, suspenseful sequence (one scene involving Paxton wandering the hotel's first floor with a microphone comes to mind), but even more impressive is his willingness to apply his chops to more mundane stuff; in many ways, this is one of the most accurate portrayals of what it's like to work a boring, repetitive minimum-wage job to make its way to American screens in some time. Also screening on Friday at 9:45pm and at Midnight Saturday is West's breakthrough THE HOUSE OF THE DEVIL (2009, 93 min, 35mm); West will be present for Q&As with the A.V. Club's Scott Tobias on Friday at the 7:20pm screening of THE INNKEEPERS and the 9:45pm screening of HOUSE. (2011, 100 min, 35mm) IV
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More info at www.musicboxtheatre.com.

Ralph Fiennes' CORIOLANUS (New British)
Landmark's Century Centre Cinema — Check Venue website for showtimes
Lo, by what feat of contrivance came this picture to us? Though Ralph Fiennes produced, directed, and stars in the film, "vanity project" is not quite the phrase to describe CORIOLANUS, as a vain man would not willingly debase himself in this manner, covered in his own blood and spittle, eyes wild with rage, and then placed so damn close to the camera's lens. Nay, this is a Voldemort Project. Fiennes' penchant for terrifying children is put to use here as an increasingly-crazed general of a fictitious Roman-esque nation. Banished for his disdain of the common people, he returns as the de facto leader of an invading army in a single-minded quest for revenge. Like Kenneth Branagh, Baz Luhrmann and Julie Taymor before, Fiennes manages to make of a modernized Shakespeare play not exactly a good movie, but a curious one. A film in which television news anchors speak in iambic pentameter and Gerard Butler changes accents mid-sentence, his tongue stumbling over antique phrasings. Ignoring for a moment the clear camp factor, Fiennes' directorial decisions continually surprise: his eye for shot composition is well developed. Should he be so lucky as to direct another feature, we can only hope that film will follow in CORIOLANUS' mad footsteps. (2011, 122 min, Unknown Format) DM
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More info here.

Jeff Nichols' TAKE SHELTER (New American)
Doc Films (University of Chicago) — Saturday, 7 and 9:15pm and Sunday, 3pm
Quite likely the Most Jacques Tourneur-esque Movie of 2011, Jeff Nichols' second feature stars Michael Shannon as Curtis LaForche, an Ohio construction worker with a family history of schizophrenia who begins having nightmares and hallucinations about an apocalyptic thunderstorm. Hinging on what's probably the most sympathetic portrayal of mental illness you'll ever find in a psychological horror film, it's a patient, uneasy movie that—paradoxically—derives most of its ambiguity from its straightforwardness; instead of playing is-he-or-isn't-he games with LaForche's sanity, Nichols makes his protagonist aware of his condition—and then turns his struggle to lead something resembling a normal life into the center of the film. Shifting the brunt of the ambiguity away from LaForche's nightmares (which resemble outtakes from a Richard Kelly film—in the best way possible) to his ability to deal with them is a bold move; that Nichols is able to pull it off is a testament to his deft control of form: the non-anamorphic widescreen images (by Adam Stone, David Gordon Green's second-unit DP during the director's "massive arthouse cred" days) have a disquieting evenness, and Nichols knows how to stitch them together to make an unnerving sequence. This is a genuine oddity, and one of the most singular (and enigmatic) American films of the last few years. (2011, 120 min, 35mm) IV
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More info at www.docfilms.uchicago.edu.

Preston Sturges' SULLIVAN'S TRAVELS (American Revival)
Transistor (3819 N. Lincoln Ave.) — Monday, 8pm
To kick-off his month of programming as Guest Curator at Transistor, Gene Booth, editor of The Molten Rectangle (a local periodical that comes with DVDs of short films by local filmmakers, including Booth's), starts with the well-chosen Preston Sturges classic SULLIVAN'S TRAVELS. About a privileged studio director (Joel McCrea) who sets out to find the sufferings of real people in greater America after proclaiming to his producers that he wants to make a more meaningful picture, SULLIVAN'S TRAVELS mixes Sturges' signature sharp dialogue and with "autobiographical fantasy" (Dave Kehr) that manages dignity to those featured in the Walter Evans-like scenes of the less fortunate while maintaining the charm and humor of its main storyline. Corny as it is, Sullivan finds his truth and inspiration after he ditches the studio crew that set out with him and witnesses an audience in an African American church rolling in laughter at a Mickey Mouse cartoon, causing him to drop his idea of a message picture and declare his next film will be a comedy. Fast-forward to 2010, another time up political and economic instability and Walt Disney's TOY STORY 3 is the top-grossing domestic film of the year, lending some credence to Sturges' prescription of cartoon funnies as a cure-all (although, given prior years' breadwinners—mostly adaptations of children's books, comics, and Walt Disney's last theme-park attraction that he oversaw—the success of TOY STORY 3 may be more indicative of America's need to hold on to its more reassuring past). Let's hope America holds on to SULLIVAN'S TRAVELS, a film that champions escapism even as it explores class differences. (1942, 90 min, DVD Projection) KH
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More info at transistorchicago.com.

Gereon Wetzel's EL BULLI: COOKING IN PROGRESS (New Documentary)
Gene Siskel Film Center — Check Venue website for showtimes
Earlier this week, the well-attended Facebook page of Grant Achatz' $$$$ Fulton Market restaurant Next attempted to give away a few passes for one of this week's screenings of the EL BULLI film, and over three thousand people—most of whom believed the restaurant was actually giving away reservations for their upcoming simulation of the titular Catalonian molecular gastronomy destination—publically pleaded for a chance to spend $350 on fancy dinner. Which is to say—for the 99 percent not well-connected enough to hook up and/or afford a reservation—let them eat HDCAM: here, the untrained can puzzle over the first half of the film, a sort of unannotated laboratory ethnography, in which typically idiosyncratic El Bulli chef Ferran Adrià and his staff attempt to deconstruct and reconstruct some seemingly basic ingredients (tangerines, olive oil, pasta) in aggressively novel forms. The latter half, taking place on opening night and thereby conforming more closely to reality-show pacing conventions, curiously manages to avoid a seemingly relevant creature: the El Bulli customer, those epicurean global citizens with time and money to burn. So if you're wondering who's actually supporting this outrageous, hyperefficient, avant-garde barnacle of inequality on our tumbling planet, well, you can take a number on that, too. (2010, 108 min, HDCAM) MC
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Check the venue website for possible sold-out shows.
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More info at www.siskelfilmcenter.org.

MORE SCREENINGS AND EVENTS

The Milk Factory (907 N. Winchester Ave., Rear Apt.) hosts From the Sea to the Stars on Saturday at 5pm. The program, curated by filmmaker Jeremy Bessoff, is a "collection of short films describing the wonders of the night sky, the frigid mystery of the abyss and human-kind's desire to understand their unreachable mysteries." Screening are FIRE, AIR WATER (Jason Halprin), DANCING ON ACCIDENT UNDERWATER (Jeremy Bessoff and Nick Osborn), WHAT HITS THE MOON (Lilli Carré), LONG VOCATION (Vicky Yen), BIRTH OF THE STAR CHILD (Jeremy Bessoff), THE DREAMLESS SLEEP (Nancy Andrews), and A CONVERSATION OVER LUNCH (Shelly Dodson). Unconfirmed format(s). This event is part of 2nd Floor Rear, a 24-hour festival of alternative art spaces. More info at http://2ndfloorrear.wordpress.com.

Chicago Filmmakers presents Group 312 Films on Saturday at 8pm. Member of this local digital filmmaking collective will be on hand to screen and discuss nearly twenty short works. Directors include Kevin B. Chatham, Sean Hopp, Brian Klein, Chris Mann, Satan2000, Galina Shevchenko, Richard Syska, and Brian Wyrick. Video Projection.

The Conversations at the Edge series (at the Gene Siskel Film Center) kicks off its fall season with We Began By Measuring Distance, a program of short works from 1989 to 2011 by women makers from or connected to Palestine. The screening was curated and will be introduced by SAIC professor Tirtza Even and will include work by Basma al-Sharif (in person), Jumana Emil Abboud, Mona Hatoum, and Annemarie Jacir. Various projection formats.

Cinema Minima at Cole's Bar (2338 N. Milwaukee Ave.) presents Cinema Culture "Independent Film Night" on Sunday at 8pm. The program includes work by David Madry, Tommy Heffron, Nelson Carvajal, Amanda Daniels, Lewis Vaughn, Andy Cahill, and Amir George. DVD Projection. Free admission.

The Salonathon series at Beauty Bar (1444 W. Chicago Ave.) welcomes back the Chicago Underground Film Festival with the program Love & Sex (Mostly sex) on Monday at 9pm (hosted bar from 8-9pm). Screening are THE COLOR OF LOVE (Peggy Ahwesh), REMOVED (Naomi Uman), I'D RATHER BE DEAD THAN LIVE IN THIS WORLD (Andrew Semans), BLUE MOVIE (Mark Street), PACIFIER (Oscar Perez), and THE OPERATION (Marne Lucas and Jacob Pander). Unconfirmed format(s).

Also at Block Cinema (Northwestern University) this week: Rowland Brown's 1933 film BLOOD MONEY (35mm) screens on Saturday at 2pm; and Michael Curtiz's classic CASABLANCA (35mm) screens for free on Thursday at 7pm

The Film Studies Center (University of Chicago) screens Marjane Satrapi's 2007 French/US animated film PERSEPOLIS (35mm) on Friday at 7pm. The RSVP list is full, but you can get on the wait list if you arrive by 6:45pm.

Also at the Gene Siskel Film Center this week: Robert Bresson's classic 1956 film A MAN ESCAPED (35mm) screens on Saturday (3pm), Sunday (5pm), and Monday (6pm); Cédric Klapisch's 2011 French film MY PIECE OF THE PIE (HDCam Video) screens for a week; and Ian Cheney's 2011 documentary THE CITY DARK (HDCam Video) shows on Saturday (8pm), Wednesday (6:15 and 8pm), and Thursday (8:15pm).

Also at Doc Films (University of Chicago) this week: Wes Anderson's THE ROYAL TENENBAUMS (Unconfirmed format) is Friday at 7, 9:15, and 11:30pm and Sunday at 1pm; Joseph Sargent's 1974 thriller THE TAKING OF PELHAM ONE TWO THREE (35mm) is on Thursday at 7pm; and Adrian Lyne's 1980 film FOXES (35mm) is on Thursday at 9:15pm.

Also at the Music Box this week: Asghar Farhadi's new Iranian film A SEPARATION continues; Céline Sciamma's new French film is held over in the Saturday and Sunday matinee slot; the other weekend matinee is Norman Jewison's 1967 film IN THE HEAT OF THE NIGHT; and John Waters' PINK FLAMINGOS screens Friday and Saturday at Midnight. All 35mm.

Facets Cinémathèque screens Laura Israel's 2010 documentary WINDFALL this week. Unconfirmed format.

High Concept Laboratories (1401 W. Wabansia) hosts Fukushima: 1 Year After the Meltdown on Sunday from 5-8pm. This is a reception for the film UNCANNY TERRAIN, with proceeds benefiting the filmmakers' return to Japan.
The evening will a feature a video preview of footage from the film, with live accompaniment by the film's composer Tatsu Aoki and his band The Miyumi Project. Japanese American artist David Tanimura will showcase his digital collages inspired by the nuclear crisis. Refreshments will be served.

Alliance Française (54 W. Chicago Ave.) presents Cine-Teen Les Lutins on Thursday at 5pm. This program, intended for a teen audience, will include the films DOUNOUIA, LA VIE (20 min), DEYROUTH (17 min), AGLAEE (20 min), and CLIMAX (15 min). Unconfirmed format(s).

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