New Sensory Cinema
January 27 - May 9
From January 27 through May 9, we offer a series of fourteen programs entitled New Sensory Cinema, with weekly Tuesday lectures by award-winning filmmaker and installation artist Melika Bass, Assistant Professor in the Department of Film, Video, New Media and Animation at the School of the Art Institute of Chicago. The series is presented in cooperation with the School of the Art Institute of Chicago’s Department of Art History, Theory, and Criticism. Additional screenings of the films on Friday or Saturday do not include Prof. Bass’s lecture. Admission to all New Sensory Cinema programs is $5 for Film Center members; usual admission prices apply for non-members.
— Martin Rubin, Associate Director of Programming, Gene Siskel Film Center
This series explores fourteen films, all made in the last thirty years, in which the body acts as a territory of desire, a vessel of transformation, a site of return, and a mode of resistance to cinematic capture. Each movie offers a provocation of the senses — devotion, entrapment, obliteration, ecstasy, possession — in which the filmmaker pushes against the boundaries of genre to propose new cinematic forms. Films planned for inclusion include Athina Rachel Tsangari's ATTENBERG, Guy Maddin's THE FORBIDDEN ROOM, Eliza Hittman's IT FELT LIKE LOVE, Carlos Reygadas's POST TENEBRAS LUX, and Kelly Reichardt's RIVER OF GRASS.
— Melika Bass
Check back soon for remainder of the New Sensory Cinema schedule.
Under the Skin
2013, Jonathan Glazer, UK/USA, 108 min. With Scarlett Johansson.
- Fri, Jan 27th 7:45pm
- Tue, Jan 31st 6:00pm
"Minds will be blown to the four winds...the trippiest film in any genre in a long while." — Michael Phillips, Chicago Tribune
Glazer's first film since BIRTH (2004) is an unnervingly original mix of visionary sci-fi, erotic tension, and observational realism. Johansson is uncannily cast as an alien who alights in Glasgow, borrows an ectoderm from a fresh corpse, and prowls city streets and country roads in a Ford van, trawling for solitary men whom she lures to a black pool of oblivion. The pick-up scenes were mostly improvised with real passersby filmed by hidden cameras. This evocatively ambiguous film ingeniously inverts the gender dynamics of the stalker film, playing on male anxieties of vulnerability, but, as the alien visitor discovers, becoming too curious about her human prey can activate her own vulnerability. DCP digital. (MR)
JANUARY 31: Lecture by award-winning filmmaker and installation artist Melika Bass, Assistant Professor in the Department of Film, Video, New Media and Animation at the School of the Art Institute of Chicago.