Cine-File continues to cover streaming and other online offerings during this time of covidity.
ONION CITY EXPERIMENTAL FILM + VIDEO FESTIVAL
The Onion City Experimental Film + Video Festival, originally scheduled to take place in March, will now be showing free online beginning Thursday, June 18, and continuing through June 28. Programs will be rolled out over two long weekends, June 18-21 and June 25-28, and each will be available for viewing for several days. Visit the Onion City website www.onioncityfilmfest.org for the full schedule and for information about online Q&A sessions. Check back here in the next two weeks for additional reviews of select programs.
Films by Norm Bruns: "...whatever Norm Bruns decides to bring." (Experimental/Retrospective)
Available for free viewing from 6/18 at 5pm to 6/24 at midnight here
In a comprehensive 1981 Reader essay on Chicago-based Super 8 filmmaker Norm Bruns (from which the title of this program takes its name), Barbara Scharres, now director of programming at the Gene Siskel Film Center, observed that Bruns’ films evoke the work of Jean Cocteau, Maya Deren, and Curtis Harrington, comparisons that seem apt and discernible when viewing this largely unknown filmmaker’s work. It suggests to me, also, a mix of Georges Méliès and either Jack Smith or Andy Warhol, depending on the film; a few I’d call documentary vignettes, but the dreamlike quality of Bruns’ outright experimental endeavors carries over, cohering the program as a whole. The story has it that Bruns, who passed away in 1990 and whose films have gone unseen in the last 30 years, bought an 8mm camera at a garage sale in 1980 and went on to make 11 films—shooting all of them in grainy, high-contrast black and white—in less than a year. The result is a delightful hodgepodge that beguiles, astounds, and, in some cases, simply impresses. The program is bookended by the most audacious works: THEATRE OF THE HORSE AND MOON (13 min, silent) and THE UNUSUAL BOOK (10 min, sound). The former is one that reminded me of Méliès, with its simple but profoundly affecting special effects, such as a shadow puppet-like model of a ship being carried against well-lit backgrounds; Bruns renders the artlessness artful, and his modest ambitions exude the purity of early cinema. THE UNUSUAL BOOK is more thoughtfully stylized in its depiction of a living book featuring a woman’s face on and around which things happen, including delightfully crude animations utilizing paint, fabric and random oddities. More evocations of this style are evident in the shorter film THE POET AND THE POND (6 min, sound), an amalgam of patterns and repetitions that also bring to mind both the disciplined litanies of Marcel Duchamp and the surreal dreamscapes of Salvador Dali. (Scharres indicated in her piece that Bruns “is largely unfamiliar with the tradition into which his work clearly falls,” making all these comparisons, hers and mine, thought-provoking. How is it that an artist can so fully exude his own style that seems to be the product of certain influences, but isn’t?) SWIM (7 min, sound) features a Warhol-like focus on a single body; here it’s a man, who’s mimicking swimming, complete with goggles, to a vaguely sexual effect. In stark opposition to the rest of the program’s surreality are the documentary-esque BINGO (6 min, silent) and DUCK (3 min, silent), the subjects of which are more or less aligned with their titles. One film, FIGURE WITH 14 TRAINS (7 min, sound), exists in a sort-of middle ground between documentary and experimentation. Around and superimposed through images of a man in bed are elegiac shots of Chicago trains, suggesting something almost erotic, much like SWIM, but it’s unequivocal in its depiction of the transit system as a wondrous framework. My favorite of the program is BED DESERT (5 min, silent), which is something of an outlier. In this inventive little film, the ripples of bed sheets are juxtaposed with images of the desert (or are they?), the formal ruse playful and intriguing. Films marked as having sound will be accompanied by classical music pieces as indicated in Bruns’ notes. KS
LOCAL ONLINE SCREENINGS – New Reviews
Hong Sang-soo’s HILL OF FREEDOM (South Korea)
Available to rent through Facets Cinémathèque here
Hong Sang-soo has loved playing with narrative structure since the beginning of his career. He’s organized many of his films around formal conceits, such as splitting the story in two and focusing on different characters in each part (as in THE POWER OF KANGWON PROVINCE or A TALE OF CINEMA), presenting variations on the same sets of scenes (as in THE DAY HE ARRIVES or RIGHT NOW, WRONG THEN), or shifting unexpectedly between reality and the characters’ dreams (as in NIGHT AND DAY, IN ANOTHER COUNTRY, or NOBODY’S DAUGHTER HAEWON). Then there are Hong’s puzzle films, in which the writer-director deliberately withholds crucial information from the viewers or else centers the film on some unresolved mystery. The short but dense feature HILL OF FREEDOM belongs to this latter category. At the start of the film, a Korean woman returns to Seoul after an extended stay at a sanatorium in the mountains; she finds waiting for her at home a stack of letters written to her by the Japanese man with whom she once taught at a language institute. Before she can read the letters, though, the woman drops them and, since the letters aren’t numbered or dated, she’s unable to put them back in the correct order. HILL OF FREEDOM proceeds to realize the contents of the letters in the sequence the woman reads them, which is to say that the chronology of events remains enigmatic till the end. Certain incontrovertible facts emerge from the flashbacks: Mori, the Japanese visitor, is an unemployed man who longs to reconnect with the woman he’s writing to, having identified her as his feminine ideal; he’s awkward when it comes to communicating with the older Korean woman who runs the inn where he stays in Seoul (their interactions giving way to some classic moments Hongian social awkwardness); the innkeeper’s nephew, whom Mori befriends, is saddled with many debts; and the woman who runs a coffee shop near the inn takes a shine to Mori. The gifted actress Moon So-ri (OASIS, THE HANDMAIDEN) plays the coffee shop owner, in her third collaboration with Hong; her winning yet vulnerable characterization is reason alone to watch the film, yet all of the characters generate fascination. HILL OF FREEDOM is one of the few Hong films of the 2010s that doesn’t focus on film professionals or other creative types, and one of the film’s pleasures lies in seeing Hong explore new patterns of behavior. Some of the more commanding insights concern the interactions between Japanese and Korean individuals and the romantic encounters between people who know their time together is fleeting. These insights take a few viewings to take root in one’s thoughts, since the formal invention is so attention-grabbing the first time around. Given how short the film is, though, you can easily find time to watch it twice in a day. (2014, 67 min) BS
LOCAL ONLINE SCREENINGS – Held Over/Still Screening/Return Engagements (Selected)
Claude Sautet's CLASSE TOUS RISQUES (France)
Available to rent through Facets Cinémathèque here
[Note: Spoilers!] Although Claude Sautet directed his first feature film BONJOUR SOURIRE! in 1956, he aptly chose CLASSE TOUS RISQUES to mark the beginning of his career. Adapted by Sautet, Jose Giovanni, and Pascal Jardin from Giovanni's novel, CLASSE TOUS RISQUES stars Lino Ventura as Abel Davos, a wanted criminal who hopes to return to Paris in order to escape the Italian police closing in on him. Travelling with his wife Therese (Simone France), two young children, and friend Raymond Naldi (Stan Krol), Davos first reaches the small city of Menton on a gloomy French Riviera. Ambushed by border patrol, Davos and Naldi engage in a gunfight that ends with the death of Naldi as well as Therese. Eventually, a kind stranger, Eric Stark (Jean-Paul Belmondo), drives Davos and his children to Paris, but once there, Davos must contend with his former partners who turn on him in addition to the police. According to Giovanni's close friend and collaborator Bertrand Tavernier, all of his novels and screenplays center on the connected themes of survival and the dread of compromise or betrayal. In CLASSE TOUS RISQUES, the existential protagonist only lives while on the run through cities beautifully realized through Sautet's preferred Italian Neorealist lens. Davos can no longer face the victims of his crimes; he does not want to remain a criminal, but he is unsure of where to go and what to do. So, he stays on the run to nowhere until he realizes his own literal nothingness. In a recent essay on CLASSE TOUS RISQUES, Tavernier praised Sautet's new crime film, "Like Jacques Tourneur, Sautet renew[ed] the genre, profoundly, from the inside, instantly turning dozens of contemporary films into dusty relics... [He] succeeded in infusing his action scenes with absolute authenticity, breathing such an incredible sense of real life into them that it is said they won him the admiration of Robert Bresson." (1960, 110 min) CW
Josephine Decker’s SHIRLEY (US)
Available to rent through Facets Cinémathèque here
There’s something quite sinister about the relationship between a writer and her muse. In the most extreme examples, a writer has an inherent desire to control the narrative, and to manipulate it and those inside in the pursuit of artistic perfection, no matter the cost. Based on Susan Scarf Merrell’s novel of the same name, Josephine Decker’s SHIRLEY examines that push and pull through acclaimed horror novelist Shirley Jackson (Elizabeth Moss) and her newest source of inspiration. In the hopes of becoming a professor, Fred (Logan Lerman) and his newly pregnant wife Rose (Odessa Young) move to a quaint college town in Vermont and are offered to stay with Shirley and her professor husband Stanley Edgar Hyman (Michael Stuhlbarg) in exchange for performing household duties as Shirley attempts to fight a miserable case of writer's block. Moss embodies the neuroticism of a tortured writer and the less-than-glamorous writer’s process: she’s oft bedridden, smoking cigarettes, and day drinking, and refuses to have a clean house as it’s a sign of “mental inferiority.” She’s crass and void of a filter—often egged on by her philandering husband—but she finds herself transfixed with Rose, who bears a strong resemblance both to her younger self and to her subject. The two find themselves in a toxic but mesmerizing relationship bound by obsession, power, and the embers of what will soon be Shirley’s masterpiece, a mysterious story of a young woman who went missing at the college. As the narrative unfolds, the lines between fiction, fantasy, and reality are blurred, if not destroyed completely. Moss and Stuhlbarg’s performances are showstopping—ranging over a striking spectrum from muted passivity to explosive chaos—and are reminiscent of gripping theater. Sarah Gubbins’ screenplay is sharp and steeped in a haunting realism, masterfully paired with a lucid score from Tamar-kali (who also lent her ear to Kitty Green’s THE ASSISTANT and many of the films of Dee Rees). And as a director, Decker has taken the freshman experimental sensibilities of MADELINE’S MADELINE and refined them, appropriately lending themselves to a hearty work that is hard to forget. (2019, 107 min) CC
Ivan Dixon’s THE SPOOK WHO SAT BY THE DOOR (US)
Streaming for free on Twitch via Doc Films and Screen Slate (6/18, 8pm EST/7pm CST) here
THE SPOOK WHO SAT BY THE DOOR, based on the book by native Chicagoan and committed Marxist Sam Greenlee, who also wrote the film’s screenplay, chronicles the activities of the portentously named Dan Freeman (Lawrence Cook). Freeman is one of a cohort of all-male black applicants to a CIA affirmative action program foisted upon the agency by U.S. senators who are more worried about approval ratings than equality. The cohort of hopefuls doesn’t realize that their white trainers will use every opportunity to eliminate them from contention. In the end, only Freeman has made the grade. He is appointed section chief of reproduction services, aka photocopying, and remains with the agency for five years before returning to his native Chicago. Then the real purpose of his CIA stint becomes clear—to use the skills he acquired to recruit and train guerrilla freedom fighters in all the major urban centers in the country to battle Whitey to a standstill and force the Establishment to grant black Americans freedom in exchange for safe and peaceful streets. Greenlee provides a graphic depiction of the lumpenproletariat rising up against their bourgeois oppressors. After first establishing Freeman as a charismatic leader who can win respect with his muscles as well as his brains, the film shows him recruiting his former gang, the Cobras, to be his first platoon of revolutionaries. Ivan Dixon, perhaps best known as one of the POWs on the TV series Hogan’s Heroes (1965–1971), had a full career as an actor and TV director. His only two feature film assignments, TROUBLE MAN (1972) and SPOOK, came during the short window of opportunity for independently produced “Blaxploitation” films, and both films balance intelligence and aspiration with the more common elements of sex and violence. Dixon shoots parallel scenes and dialogue of Freeman training his men as he was trained at The Farm, a still-relevant example of American forces opportunistically training people who just as opportunistically will turn on them some day. The film has no real place for women as active fighters, but Dahomey Queen (Paula Kelly), a black prostitute with whom Freeman hooks up during his CIA training, becomes an invaluable informer. In 2012, SPOOK was added to the National Film Registry as a “culturally, historically or aesthetically significant” American film. Faced with the violence against the black community that we know is absolutely real from recent events, Freeman’s desperate actions “to be free,” as he puts it, are likely to be met with a good deal of sympathy from a large portion of today’s audiences. (1973, 102 min) MF
---
A “reprise” of Doc Films’ screening of the film earlier this year (in a series programmed by C-F contributor Raphael Martinez), this online screening is a partnership between Doc Films and our unofficial “sister” organization in NYC, Screen Slate.
LOCAL ONLINE SCREENINGS – Also Screening/Streaming
Chicago Film Archives
Mike Gray and Howard Alk's 1969 documentary AMERICAN REVOLUTION 2 (77 min) is available on the CFA’s Vimeo page.
The Film Group’s 1966 short documentary CICERO MARCH (8 min) is available for free at the CFA’s YouTube page
The Nightingale
The Videofreex’s 1969 video interview FRED HAMPTON: BLACK PANTHERS IN CHICAGO (23 min) is streaming for free here. Additionally, the Nightingale has a lengthy list of places that you can make donations to and they are offering passes to the Nightingale for individuals who make donations to ten of the organizations (any amount).
Block Cinema (Northwestern University
A free online screening of NU Doc Media Thesis Showcase: Doppler Effect – Part 2 is on Friday at 7pm. More information on this program of new student documentaries and an RSVP link here.
The Block also presents Policing Surveillance: A YPRPT Documentary Series, a program of three documentaries by participants in the Young People’s Race, Power, and Technology (YPRPT) project, on Wednesday at 7pm. RSVP here to receive the screening link.
Asian Pop-Up Cinema presents a free online Mini-Focus: Taiwan Cinema through June 12. Each film/program plays one day only, from 2-10pm. The final entry in the series is Chang Jung Chi’s 2019 film WE ARE CHAMPIONS (117 min). Information and film links here.
Chicago Filmmakers
Visit here to find out about virtual screenings offered through Chicago Filmmakers.
Hideout Inn
A program of shorts selected by Glamhag is on Friday at 8pm. Free with a suggested donation. Info here.
Northwestern University Department of Radio/Television/Film
"Me and the World," a program of student work from the NU “Fractured Narratives” class, is streaming for free on Saturday at 1pm. Visit the Facebook event page for information on the screening link and the Q&A.
Facets Cinémathèque
Mounia Meddour’s 2019 Algerian/French film PAPICHA (108 min) also streams here this week.
Gene Siskel Film Center
Daniel G. Karslake’s 2019 documentary FOR THEY KNOW NOT WHAT THEY DO (91 min), Anca Damian’s 2019 animated French/Romanian/Belgian film MARONA’S FANTASTIC TALE (92 min), and Maya Newell’s 2019 documentary IN MY BLOOD IT RUNS (84 min) all begin streaming this week. Check the Siskel website for hold-over titles.
Music Box Theatre
Peter Sellers’ 1961 UK film MR. TOPAZE (97 min), Ian Cheney and Sharon Shattuck’s 2020 documentary PICTURE A SCIENTIST (95 min), and Carl Hunter‘s 2018 UK film SOMETIMES ALWAYS NEVER (91 min) stream this week. Joseph Kuo’s 1987 Hong Kong film MYSTERY OF CHESS BOXING (90 min) livestreams on Friday at 8:15pm, with commentary by Wu-Tang Clan's RZA. Check the Music Box website for hold-over titles.
Chicago International Film Festival
Alysa Nahmias’ 2020 documentary THE NEW BAUHAUS (89 min) streams this week. Check CIFF’s website for additional titles.
ADDITIONAL ONLINE RECOMMENDATIONS
Films by Colectivo Los Ingrávidos (Experimental)
Available for free viewing here
Colectivo Los Ingrávidos is a moving image project formed in Mexico in 2012 whose stated purpose is to dismantle the dominant commercial visual grammar. Toward that goal, the group creates vivid and sparking films and videos of protests and labor, and earth and sky, in explosions of sounds and images that work toward decolonizing the ways of seeing the world. Often in experimental film, heavy-handed soundtracks can overwhelm the force of the visuals; but the work of Colectivo Los Ingrávidos integrates the sound and image in a pure and purposeful unification that is, at times, sublime. ANÁBASIS (2019) features scratchy and probing sounds that recall radio signals and surveillance, rhyming with a swinging and searching camera poking in and out of a swirling protest. ALTARES (2019) features flashing percussive in-camera edits and drum beats. Pre-Columbian religious iconography is placed in nature, along roadsides, and in the middle of public squares, reclaiming those spaces for dance and worship. ERODED PYRAMID (2019) uses improvised horns and drums with a quaking consternation of images of rocks and flowers and earth shaking with anxious erosion. PARALAJE (2019) is a highlight of the program. It features protest images layered in so many multiples that analog glitches begin to appear, followed by rephotographed digital glitches shouldering in to create a disquieted dance. The image and sound resolve into a quiet night with ominous clouds rolling in—a promise of more work and strife tomorrow. COYOLXAUHQUI (2019), named for the Aztec moon goddess, begins with cactus flowers at dusk, the camera moving the length of the plant and stuttering with closeups of blossoms. The images darken, and heavily tinted purple sunlight stands in for the moon, casting an eerie light on abandoned clothing spread about the landscape. THE SUN QUARTET, PART 1: PIEDRA DE SOL (2017) features fuzzy speech and song, creating a sloshing disjointedness with the images of fruit, soil, labor, protest, and fire. EL TRABAJO DE NUESTROS COMPAÑEROS (2014) speaks to the current moment of righteous anger at police state violence. It's an intense, heartbreaking, and beautiful piece of reportage and a poetic elegy for the 43 students who were disappeared by the police in Mexico in 2014. Finally, LUNAR DANCES (2020) is a lovely film but a bit mistitled. The moon sways a bit and occasionally shuffles out of frame, but usually maintains its centrality while the dancing is done by bold colors tinting the lunar surface and flowers and light flares flickering in luscious superimpositions. This fantastic selection of streaming celluloid work was programmed by artist Anto Astudillo for Corrient.es, a new site focusing on Latin American work. (2014-20, 65 min total) JBM
Giovanni Totaro’s HAPPY WINTER (Italy/Documentary)
Available free for subscribers to PBS Passport here
I have rarely seen a more gorgeous title sequence than the one that introduces HAPPY WINTER, a slice-of-life gem from first-time documentary director Giovanni Totaro. High overhead a drone camera moves slowly across a vast expanse of water. It is so high that it is hard to get oriented, but eventually, the blues and greens give way to the light tan of the shallows and the tiny dots that multiply as the drone approaches the shore. This shot’s timeless and elemental character does much to set up the human rituals Totaro will explore in HAPPY WINTER—specifically the goings-on at Palermo’s Mondello Beach during the long weekend surrounding Ferragosto, an annual Italian holiday occurring on August 15 that originated during the reign of Emperor Augustus. At Mondello, families rent tiny, wooden cabanas that abut each other in neat rows along the beach to spend a mini-vacation in communal celebration. We are immersed in this sea of humanity through the almost miraculous work of Totaro and cinematographer Paolo Ferrari who somehow manage to film their unself-conscious subjects in a variety of pursuits, from line dancing and karaoke to cooking pasta on a camp stove and settling in for what looks to be a very uncomfortable night’s sleep. Totaro highlights several people—an anti-immigrant candidate for mayor of Palermo, a pair of teenagers making out anywhere and everywhere, a loving couple who should be the envy of all married people, and a husband and father who makes his living selling snacks and cold beverages from a large cooler he carries across his back to the people on the beach. This vendor quite reminded me of the father in BICYCLE THIEVES (1948) as he works hard and tells his sons they must finish school so they won’t have to do what he does. Economic distress and forced migration are discussed, particularly with our self-styled politician, but sympathy for the “poor souls” trying to escape war and hope for the future seem the more dominant attitudes. The industry of the people who try to make the cabanas as homelike as possible, the communal meals, and the beauty captured by Ferrari and underwater cameraman Riccardo Cingillo, who shoots a nighttime swim during which hundreds of glowsticks illuminate the swimmers’ arms, make HAPPY WINTER a life-affirming experience that is all the more important at this time of social isolation. (2017, 51 min) MF
Michael James Rowlands’s LUCKY MILES (Australia)
Available for free on Vimeo
The United States isn’t the only country with its panties in a bunch about immigrants, legal or otherwise. Australia’s policies with regard to immigrants have slipped from relatively open to fairly hostile. LUCKY MILES was made as a kind of wake-up call, as director Rowland deliberately set most of the action in the year 1990 to help Australians recall that it wasn’t so long ago when asylum seekers and boat people were dealt with in a more balanced way. Far from being a liberal polemic, however, LUCKY MILES is a rich and entertaining film based on real-life accounts of illegal immigrants who survived their journey to Australia in barely seaworthy boats only to be dumped in the empty deserts in the state of Western Australia. The film begins, however, in Cambodia in 1972, as an Australian soldier bids farewell to his Khmer lover. He gives her a business card and tells her to call the number if her family gives her a hard time. He also promises to return in a few weeks. Flash-forward to 1990 and a jerrybuilt putt-putt filled with Iraqi and Cambodian refugees and their Indonesian mules. The boat pulls up to shore. Large sand dunes stretch as far as the eye can see. When one of the passengers questions the location of the drop-off, lead mule Muluk (Sawung Jabo) assures them that just over the top of the dunes is a road where they can catch a bus into town. Khmer refugee Arun (Kenneth Moraleda) is anxious to catch the bus to Perth, but of course, there is no road, no bus, nothing at all but endless desert. The Iraqis and Khmer head in opposite directions down the beach, hoping to walk to the nearest town. Eventually, through a series of misadventures among all three groups that speak volumes about their lived experiences in their home countries, Arun, Yousif (Rodney Afif), and Ramelan (Sri Sacdpraseuth), Muluk’s nephew, end up together. Added to the mix is a trio of Army reservists—a less physically abusive version of the Three Stooges—who are sent to track the refugees’ whereabouts. The film makes droll comedy out of the fact that O’Shane (Glen Shea) is an Aboriginal who cannot track, and the trio remains one step behind Yousif, Arun, and Ramelan. Eventually, however, the reservists catch up with Yousif and Ramelan in a hilarious, realistic chase sequence that has to be seen to be believed. When news of these refugees’ ordeal hits Australia’s airwaves, pub dwellers near the site of their capture hand it to them for surviving for so long. Arun remains at large and brings the LUCKY MILES to its inevitable dénouement through the kindness of one of those pub dwellers. The gentleness and humor sounded at the end strike the perfect note of reconciliation Rowland said he hoped to achieve with this film. This is the rare movie that will make you laugh while it makes you think. (2007, 105 min) MF
SUPPORT LOCAL THEATERS AND SERIES
As we wait for conditions to improve to allow theaters to reopen, consider various ways that you can help support independent film exhibitors in Chicago weather this difficult time. Memberships, gift cards, and/or merchandise are available from the Gene Siskel Film Center, the Music Box Theatre, and Facets. Donations can be made to non-profit venues and organizations like Chicago Filmmakers, the Chicago Film Society, South Side Projections, and many of the film festivals. Online streaming partnerships with distributors are making films available through the Gene Siskel Film Center, the Music Box Theatre, and Facets; and Facets also has a subscription-based streaming service, FacetsEdge, that includes many exclusive titles.
COVID-19 UPDATES
All independent, alternative, arthouse, grassroots, DIY, and university-based venues and several festivals have suspended operations, closed, or cancelled/postponed events until further notice. Below is the most recent information we have, which we will update as new information becomes available.
Note that venues/series marked with an asterisk (*) are currently presenting or plan to do regular or occasional “virtual” online screenings.
Asian Pop-Up Cinema – See above for online offering; otherwise, spring series postponed till the fall*
Beverly Arts Center – Events cancelled/postponed until further notice
Block Cinema (Northwestern University) – Events cancelled/postponed until furtuer notice*
Chicago Film Archives – The CFA’s annual “Media Mixer” event, previously scheduled for May, has been rescheduled for September 16
Chicago Film Society – Events cancelled/postponed until further notice
Chicago Filmmakers – Events cancelled/postponed until further notice*
Comfort Film (at Comfort Station) – Programming cancelled with no set start date
Conversations at the Edge (at the Gene Siskel Film Center) – Events cancelled/postponed until further notice
Doc Films (University of Chicago) – Screenings cancelled until further notice
Facets Cinémathèque – Closed until further notice (see above for “virtual” online screenings)
Film Studies Center (University of Chicago) – Events cancelled/postponed until further notice
filmfront – Events cancelled/postponed until further notice
Gallery 400 *
Gene Siskel Film Center – Closed until further notice (see above for “virtual” online screenings)
Music Box Theatre – Closed until further notice (see above for “virtual” online screenings)
The Nightingale – Events cancelled/postponed until further notice
The Park Ridge Classic Film Series (at the Park Ridge Public Library) – Events cancelled/postponed until further notice
Festivals:
The Cinepocalypse film festival (June) – Postponed with plans to reschedule at a future time
The Chicago Latino Film Festival (April 16-30) – Postponed with plans to reschedule at a future time
The Windy City Horrorama festival (April 24-26) – Cancelled; will possibly be rescheduled or reconfigured at a future date
The Chicago Critics Film Festival (May 1-7) – Postponed until further notice
The Chicago Underground Film Festival (June 10-14) – Postponed (tentatively in September)
CINE-LIST: June 12 - June 18, 2020
MANAGING EDITOR // Patrick Friel
ASSOCIATE EDITORS // Ben Sachs, Kathleen Sachs, Kyle A. Westphal
CONTRIBUTORS // Cody Corrall, Marilyn Ferdinand, JB Mabe, Candace Wirt