By MCN Editor editor@moviecitynews.com

Chicago Int’l Names First 25 Selections For 47th Edition

Every year, we search the globe for the new, the unconventional and the bold, and we bring it to you. This is but just a sample of the riches you will find in October, from award-winning films from some of the world’s most important festivals to World and North American premieres. By ordering your passes to the 47th Chicago International Film Festival now, you can be the first to set out on your own personal cinematic journey. You can also be the first to see and hear veteran and up-and-coming filmmakers and artists share their experiences. Join us on this cinematic trip of a lifetime.

Michael Kutza | Founder and Artistic Director

Director: Dori Berinstein • USA

Inspiring, heartwarming, hilarious and full of life, this portrait of the Tony® and Golden Globe® award winning actress, singer and comedienne weaves Broadway history with an unbelievable love story to capture the unique persona behind the iconic performances in Hello Dolly and Gentleman Prefer Blondes.

A Dangerous Method
Director: David Cronenberg • Germany/Canada

Seduced by the challenge of an impossible case, the driven Dr. Carl Jung (Michael Fassbender) takes the unbalanced yet beautiful Sabina Spielrein (Keira Knightley) as his patient in A Dangerous Method. Jung’s weapon is the method of his master, the renowned Sigmund Freud (Viggo Mortensen). Both men fall under Sabina’s spell.
Day is Done
Director: Thomas Imbach • Switzerland

Fifteen years of 35mm footage shot almost entirely from one vantage point overlooking the back of the Zurich train station is paired with fifteen years of answering machine messages to form an unlikely portrait of the artist. Though unseen and unheard, Thomas Imbach allows a full persona to develop from the voices and tone of each caller and the objects his camera chooses, follows and lingers over.

Haunters
Director: Min-suk Kim • South Korea

A young thief’s ability to control minds is frustrated when he meets one just beyond his reach in this fast paced Korean action thriller. On a routine robbery of a pawnshop, things go terribly awry and an epic cat and mouse game quickly ensues, taking the viewer on a super charged tour of Seoul at night.

The Jewel
Director: Andrea Molaioli • Italy

Deception, betrayal, and sleight of hand lie at the heart of this gripping drama of corporate intrigue. When multi-nationals threaten the existence of a family-owned dairy business, the company patriarch and his loyal financial advisor must find a way, any way, to keep the company going. Desperate times beget desperate measures and unsavory consequences.

Joint Body
Director: Brian Jun • USA

Noir infused characters, with plenty to be paranoid about, are thrown together in a desperate situation when recent parolee Nick Burke comes to the aid of Michelle, an exotic dancer living in a mysterious self-imposed exile in downstate Illinois. When they’re forced to team up and go on the lam, the two wonder whether they can even trust each other.

Kinyarwanda
Director: Alrick Brown • USA

A young Tutsi girl and Hutu boy fall in love, an army captain tries to stay true to her mission while keeping her humanity intact, and a priest grapples with his faith amidst unspeakable betrayals and horrors. This gorgeously shot first feature magnifies the individual lives of those who suffered and endured in this compelling, wholly original take on the Rwandan Massacre of 1994.

The Kite
Director: Prashat Bhargava • India

Can you ever really go home again? In Chicago-born Prashant Bhargava’s visually stunning feature debut, a successful Delhi businessman returns to his familial home, urban-bred daughter in tow, for a surprise visit during India’s largest kite festival. The excitement of their homecoming soon fades as long-held resentments and distrust surface.

Le Havre
Director: Aki Kaurismäki • Finland/France

Humanity and dead-pan wit triumph in Aki Kauriskmäki’s magical tale of an aging Bohemian shoeshine and a young African refugee. When fate lands Idrissa at Marcel Marx’s doorstep in the French port city of Le Havre, Marcel knows what has to be done. Enlisting the help of the whole neighbourhood of eccentrics and in defiance of all authority, he embarks on a risky plan to reconnect the boy with his mother.

Leave it on the Floor
Director: Sheldon Larry • USA

Sheldon Larry’s delightfully energetic, bold and rather cheeky musical about the glamourous world of voguing, follows the journey of one young gay African American as he finds his place in the world. After being thrown out of the house by his homophobic mother, Brad stumbles into L.A.’s competitive underground drag ball scene where he discovers a brave new world of friendship, love, and acceptance. Leave It on the Floor features original songs by Beyoncé’s creative director Kim Burse and dynamic choreography by Frank Gatson, Jr.

A Little Closer
Director: Matt Petock • USA

This lyrical portrait of life in small town Virginia finds a single mother struggling to keep it together, working as a housekeeper and looking for love. Meanwhile, her two adolescent sons explore their own sexuality in the sweltering, stagnant days of summer. This debut family drama presents an intimate study of the emotional landscape of rural America.

Madame X
Director: Lucky Kuswandi • Indonesia

In this Indonesian-styled Priscilla Queen of the Desert, our transsexual superhero goes up against Mr. Storm, The National Morality Front and his deadly burqa-clad wives. A dark wit pervades this daring, camp-filled first feature from director Lucky Kuswandi.

Miss Bala
Director: Gerardo Naranjo • Mexico

Equal doses of unrelenting action, beauty queen fantasy and social disquiet rule this detached tale of drug trafficking in Baja California, inspired by a true story. On her way to compete in her first beauty pageant, Laura is swept up in a gangland slaying and suddenly finds herself forced to work as a mule in order to save her own life.

Nobody Else But You
Director: Gérald Hustache-Mathieu • France

The ambiguous suicide of a local beauty, weathergirl, cheese model, and Marilyn Monroe look-a-like finds an eager sleuth in David Rousseau, best-selling crime novelist. When Rousseau visits a remote Alps village for the reading of his friend’s will he unwittingly, but irresistibly, gets caught in the tangled web of murder and small town politics in this off-beat mystery.

Pina
Dir: Wim Wenders • Germany/France/UK

Legendary German filmmaker (and Chicago Film Festival discovery) Wim Wenders brings long-time friend and dance innovator Pina Bausch’s revolutionary work to life through state-of-the-art 3-D in Pina. A labor of love for both Wenders and the Tanztheater Wuppertal, Bausch’s company, Pinafeatures four of Bausch’s most acclaimed choreographies ingeniously staged indoors and outdoors. By focusing on depth and perspective instead of flashy effects, Wenders creates a submersive experience for dance fans and neophytes alike.

The Return of Joe Rich
Director: Sam Auster • USA

He lost his job, his wife and his home, but not his sense of honor. When Joe returns to Chicago he looks up his aging but still dangerous Uncle Dom in the hopes of getting “connected” and living the life of a made man. When Uncle Dom resists, Joe makes him an offer he can’t refuse.

Sacrifice
Director: Chen Kaige • China

What are the limits of loyalty, family, and justice? Driven by jealousy and power, General Tu-Angu frames an entire clan for the murder of their king and wipes out all 300 members. All but one—a baby boy and dynastic heir, secretly rescued by the family doctor. But when Tu-Angu orders the Herod-like murder of every male infant, the doctor makes an inconceivable sacrifice in Chen Kaige’s (Farewell My Concubine) breathtaking adaptation of a classical Chinese opera.

The Slut
Director: Hagar Ben-Asher • Israel

Winner of the Best Director prize at the Jerusalem Film Festival, Hagar Ben-Asher’s alternative, almost anti-cautionary tale presents Tamar, a beautiful, young single mother with a seemingly insatiable sexual appetite. While running a chicken farm with her two daughters, she finds servicing the village’s lackluster men gets her through the inconveniences of everyday life. That is until a hunky veterinarian comes to town.

Take Me Home
Director: Sam Jaeger • USA

Thom (Sam Jaeger) just can’t win. After losing a job offer and getting evicted, he decides to buckle up as an illegal New York City cab driver. When he picks up Claire (Amber Jaeger), they embark on a trip neither one anticipated. This comedy finds solace in the back seat of a cab, the landscape of the USA, and even in a complete stranger. Director Sam Jaeger’s (from NBC’S Parenthood)Take Me Home, shows how a little cross-country drive can often lead you to take a different exit.

Target
Director: Alexander Zeldovich • Russia

The year is 2020, the place, Russia. Four members of that country’s elite go out in search of the fountain of youth in this sci-fi take on Anna Karenina which includes a secret military facility granting eternal youth and an amped up sex drive and goggles that reveal the exact quantities of good and evil that reside in a person. Nearly giddy with its lurid imagery, this highly stylized Russian production is sure to be a cult hit.

The Three Musketeers
Director: Paul W.S. Anderson • USA

They are known as Porthos, Athos, and Aramis—three elite warriors who serve the King of France as his best Musketeers. After discovering an evil conspiracy to overthrow the King, the Musketeers come across a young, aspiring hero — D’Artagnan — and take him under their wing. Together, the four embark on a dangerous mission to foil the plot that not only threatens the Crown, but the future of Europe itself in this big-screen action adventure update of the Alexandre Dumas’ novel shot in state-of-the-art 3D.

Volcano
Director: Rúnar Rúnarsson • Iceland/Denmark

An unconventional coming-of-age tale wrapped in a tender love story, this debut feature presents a portrait of compassionate devotion and an unflinching look at aging. When Hannes retires at age 67, it seems that life—well, meaningful life—has come to an end. Estranged from family and friends, Hannes’ most intimate relationship is with his boat, until a series of drastic events causes him to take stock of his life.

We Need To Talk About Kevin
Director: Lynne Ramsay • UK

In a tour-de-force performance, Tilda Swinton plays reluctant mother Eva grappling with her fraught relationship with troubled son Kevin (Ezra Miller). Based on Lionel Shriver’s eponymous novel, Lynne Ramsay’s masterful psychological thriller presents a provocative tale, which crescendos to a chilling, unforgettable climax.

What Love May Bring
Director: Claude Lelouch • France

The 43rd film from Academy Award®-winning director and French New Wave maverick Claude Lelouch (A Man and a Woman) elicits a vision that is as potent as ever. Driven by a spirited will, the turbulent life of Ilva Lemoine, from her delight-filled childhood through the Great War, the French Resistance, liberation, and memories of soldiers loved and lost, is recounted in this spectacular epic drama.

Short Films

Our pick of the best new short films from around the world includes dystopian zombie thriller The Unliving (Sweden), claymation as you’ve never seen it before in the erotic comedy Venus (pictured, Denmark), and danger lurking beneath the surface in the award-winning The Strange Ones (USA).

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon