Screen to Screen
It may seem hard to believe, but other people are still out there. With Film Center: Screen to Screen, we're bringing them to you...from the safe distance of your screen. Enjoy interactive, virtual Q&As with filmmakers, cast, and crew, as well as film critics and other community leaders...all from the comfort of your sofa (and sweatpants). We know that our community of film lovers is just that--a community--and even if we can't watch films together, we can come together to discuss them, screen to screen.
John Lewis: Good Trouble
2020, Dawn Porter, USA, 96 min.
JOHN LEWIS: GOOD TROUBLE, directed by acclaimed filmmaker Dawn Porter (TRAPPED, GIDEON’S ARMY), chronicles the life and career of the legendary civil rights activist and Democratic Representative from Georgia. Using interviews and rare archival footage, the film chronicles John Robert Lewis’ 60-plus years of social activism and legislative action on civil rights, voting rights, gun control, health-care reform and immigration. Using present-day interviews with Lewis, now 80 years old, Porter explores his childhood experiences, his inspiring family and his fateful meeting with Dr. Martin Luther King Jr. in 1957. In addition to her interviews with Lewis and his family, Porter’s primarily cinéma verité film also includes interviews with political leaders, Congressional colleagues, and other people who figure prominently in his life. [closed caption] (Description courtesy of Magnolia Films)
Immediately following the feature, there will be a pre-recorded discussion between Representative Lewis and Oprah Winfrey, filmed last month and being made available exclusively for virtual cinema and in-theater engagements of the film. This is a wide-ranging, informal, 16-minute conversation that’s a perfect follow-up to the documentary, and could not be more relevant.
Additionally, on 7/9 all ticket-buyers are welcome to stream a live panel discussion presented by the Freedom Rides Museum of Montgomery, Alabama, featuring Freedom Riders Dr. Bernard Lafayette and Dr. Rip Patton in conversation with director Dawn Porter. In partnership with the Capri Theater. The live panel begins at 7:30pm EST / 4:30pm PST and will also be archived to watch afterward.
GUEST OF HONOUR
2019, Atom Egoyan, Canada, 120 min.
With David Thewlis, Laysla De Oliveira
"Rich and teasing...an elaborate time-slipping thriller."--Peter Bradshaw, Guardian
"A beautifully nuanced performance by David Thewlis...a tour-de-force."--Lee Marshall, Screen International
Jim (Thewlis) and his daughter Veronica (De Oliveira), a high school music teacher, attempt to unravel their complicated histories and intertwined secrets in the latest film from Academy Award nominee Atom Egoyan (THE SWEET HEREAFTER). In Egoyan's trademark style, the film weaves through time, exploring perception and penance, memory and forgiveness. A hoax instigated by a jealous co-worker goes wrong, and Veronica is accused of abusing two 17-year-old students. Falsely confessing to the crime, she is sentenced to prison. Her unexplained rejection of her father's attempts to prove her innocence and obtain her early release break his heart. As a food inspector, Jim's own career goes off the rails when he begins to strangely misuse his power over small family-owned restaurants. The stories of father and daughter coalesce with a death, a clutch of unearthed memories, and the revelation of a missing piece of the puzzle. (Description courtesy of Kino Lorber)
Please join us on Tuesday, July 14 at 6pm CDT for a Facebook Live Q&A with director Atom Egoyan, moderated by the Gene Siskel Film Center's Director of Programming Barbara Scharres.
Be sure to see the film first (if you begin at 4pm CDT on 7/14, you'll finish just in time for the Q&A).
Register for the Q&A here: https://tinyurl.com/y6w4zmxu
2018, Nikolaus Leytner, Austria/Germany, 117 min.
With Simon Morzé, Bruno Ganz
"Told with unusual sensitivity...a vibrant coming-of-age story and an intriguing portrayal of Sigmund Freud, expertly portrayed by Bruno Ganz."--Stephen Farber, Hollywood Reporter
Featuring one of the final performances by acclaimed Swiss actor Bruno Ganz (THE AMERICAN FRIEND) this drama based on the international bestseller by Robert Seethaler explores an unexpected friendship set against the background of the Nazi occupation of Vienna. Seventeen-year-old Franz (Morzé) journeys to Vienna to apprentice at a tobacco shop. There he meets Sigmund Freud (Ganz), a regular customer. When Franz falls desperately in love with the music-hall dancer Anezka (Emma Drogunova), he seeks courtship advice from the psychoanalyst. As political and social conditions dramatically worsen with the Nazis' arrival in Vienna, Franz, Freud, and Anezka are swept into the maelstrom of events. In German with English subtitles. (Description courtesy of Menemsha Films)
Please join us on Thursday, July 16 at 5pm CDT for a Facebook Live Q&A with THE TOBACCONIST director Nikolaus Leytner, moderated by Erin Gizewski, doctoral student in Germanic Studies at the University of Illinois, Chicago.
Register for the Q&A here:
Be sure to watch the film first (if you start it at 3pm CDT on 7/16, you'll finish just in time for the Q&A)!
THE NEW BAUHAUS
2019, Alysa Nahmias, USA, 89 min.
"Allows Chicago to become a living, breathing entity that pulsates with Moholy-Nagy's romantic outlook on the world...By the end of the movie, you won't just admire Moholy-Nagy -- you'll want to be just like him."--Travis Bean, Forbes
This odyssey through the life and legacy of Laszlo Moholy-Nagy, the innovative artist and educator whose pioneering approach to integrating technology into design continues to influence and inspire. In the 1920s, rising artist László Moholy-Nagy taught at the revolutionary Bauhaus school in Weimar, Germany. Forced into exile by the Nazis, Moholy moved to Chicago, where he found himself inspired by the sense of reinvention in the city. Through his Institute of Design, Moholy challenged students to create systemic, human-centered design. Moholy was not a conventional artist, and THE NEW BAUHAUS is not a typical biography. It’s about the tensions between art and commerce, tradition and experimentation, past and present — and future. It examines the life, philosophy, and artwork of Moholy in light of the idea that an artist is not merely a maker of objects; an artist is a maker of her/himself. Co-presented with the Consulate General of Hungary in recognition of the 125th anniversary of the birth of the Hungarian designer and artist. (Description courtesy of Opendox Production)
The Film Center and the Consulate General of Hungary in Chicago invite you to join us on Monday, July 20 at 7pm CDT for a Q&A/panel discussion with Director Alysa Nahmias, Executive Producer Marquise Stillwell, Moholy-Nagy expert/’talking-head," Oliver Botar, and the Richard and Ellen Sandor Chair and Curator of the Department of Photography at the Art Institute of Chicago Matthew Witkovsky. The conversation will be moderated by Robyn Farrell, the Art Institute of Chicago's Assistant Curator of Contemporary Art.
Register for the event here: https://tinyurl.com/y8br65mh
The Killing Floor
1984, Bill Duke, USA, 118 min.
With Damien Leake, Alfre Woodard, Moses Gunn
"One of the all-time great Chicago movies...a terrific history lesson, a compelling drama, and a lovingly recreated period piece all rolled into one."—Michael Glover Smith, White City Cinema
Produced independently with grassroots support from union organizations and members, THE KILLING FLOOR was broadcast on PBS, received critical acclaim, then virtually disappeared outside of murky VHS copies. A new 4K digital restoration brings back this powerfully authentic historical drama, with events and characters drawn from real life. Beginning in 1917, the hard-hitting narrative centers on Frank Custer (Leake), who leaves his destitute Mississippi farm for the promised land of Chicago. He gets a job in the stockyards, but he soon finds himself caught in a crossfire of bitter conflicts—labor against management, union workers against non-union workers, blacks against whites—that will explode in the infamous race riot of summer 1919. Director Duke (A RAGE IN HARLEM, DEEP COVER) draws vivid characterization against a broad canvas of the racial, ethnic, and class tensions that shook Chicago during a crucial period of turmoil and growth. (MR)
Click here to view a Facebook Live Q&A for THE KILLING FLOOR with director Bill Duke + writer-producer Elsa Rassbach, moderated by Black Harvest Film Festival programmers Sergio Mims.
For They Know Not What They Do
2019, Daniel Karslake, USA, 91 min.Plays In: Screen to Screen
“This should be a contender for Best Documentary at the Oscars. It’s that good.” — QUEERFORTY.COM
“This doc is always thoughtful and tightly edited, and it has an emotional impact that not many docs can equal.” — THE HOLLYWOOD REPORTER
“This doc about families loving their LGBTQ+ kids is necessary viewing.” — OUT.COM
“TRIBECA docu sheds light on religion and gender identity in America” — DEADLINE HOLLYWOOD
From the director of the acclaimed FOR THE BIBLE TELLS ME SO comes FOR THEY KNOW NOT WHAT THEY DO, a new documentary that explores the intersection of religion, sexual orientation and gender identity in current-day America. The arrival of marriage equality was seen by many as the pinnacle achievement of the march toward full equality for LGBTQ people. But for many on the Right, it was the last straw, and their public backlash has been swift, severe and successful. In collaboration with religious conservatives, politicians are invoking both the Bible and the U.S. Constitution in their campaigns for the 'religious freedom' to legally discriminate. By telling the stories of four families struggling with these issues, the film offers healing and understanding to those caught in the crosshairs of scripture, sexuality, and identity. Winner of Audience Awards at Atlanta, Seattle, Ft. Lauderdale, Rochester, Phoenix, and Warsaw Film Festivals. (Description courtesy of First Run Features)
Click here to view a Q&A with Daniel Karslake, director of FOR THEY KNOW NOT WHAT THEY DO. Moderated by by Dio Aldridge, Special Assistant to the Dean and Provost for Diversity and Inclusion at the School of the Art Institute of Chicago.
Ursula von Rydingsvard: Into Her Own
2019, Daniel Traub, USA/Italy, 57 min.Plays In: Screen to Screen
"Von Rydingsvard’s favored forms are massive. They slump on the floor like hollow, tuberous mounds into which it’s tempting to crawl; or jut out from the wall; or else rise up like inverted megaliths or weathered geological forms. They’re dramatic, sensuous, but at the same time almost accidental, as if shaped organically by wind and water."--Sebastian Smee, Washington Post
“Pure visual pleasure from start to finish.”--Dorothy Woodend, The Tyee
URSULA VON RYDINGSVARD: INTO HER OWN is an artistic biography of one of the few women in the world working in monumental sculpture. Von Rydingsvard’s work has been featured in the Venice Biennale and is held in the collections of some of the world’s great museums, including New York’s Museum of Modern Art, the San Francisco Museum of Modern Art, and The Art Institute of Chicago, where her towering “Bronze Bowl with Lace” is installed on the Bluhm Family Terrace. The sculptures are massive, yet strangely intimate, and some feel imbued with an almost primal energy. Director Traub’s in-depth profile underlines von Rydingsvard’s passionate drive to create, and follows her life’s journey from post-WWII upheaval and trauma to the present, as she oversees a host of collaborators, including cutters and metal-smiths, to undertake the most complex and challenging project of her career. [Closed-captioned] (Description courtesy of Icarus Films)
Click here to view Director Daniel Traub and artist Ursula von Rydingsvard participate in a moderated discussion with Robyn Farrell, the Art Institute of Chicago's Assistant Curator of Contemporary Art.
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In My Blood It Runs
2019, Maya Newell, Australia, 84 min.
“Quietly masterful portrait of growing up indigenous.”--Luke Buckmaster, Guardian
Breathtaking and visually stunning."--Katya Kazbek, Supamodu
In this revealing, probingly compassionate documentary, two divergent cultural forces battle for the heart, soul and future of Dujuan, a charismatic ten-year-old Australian Aboriginal boy. Dujuan’s childhood is divided between the time his family spends on their ancestral lands, where he learns the language and ways of his tribal heritage, and time in the town of Alice Springs, where he and his siblings attend a school where only the dominant white culture is acknowledged and taught. Dujuan’s emerging skill as a traditional healer is nurtured by his elders, but in the eyes of white society, his “crimes” of truancy, cheekiness, and frequent rejection of authority have marked him as heading for a future in the Australian penal system, which warehouses Aboriginal youth in overwhelming numbers. In English, Arrente, and Garrwa with English subtitles. The distributor is donating a portion of proceeds to Children's Ground, a charity supporting children suffering from injustice in First Nations communities. (BS)
Enjoy a pre-recorded Q&A with director Maya Newell and producers Larissa Behrendt and Rachel Naninaaq Edwardson with purchase.
BEYOND THE VISIBLE: HILMA AF KLINT
2019, Halina Dyrschka, Germany, 93 min.
“CRITIC’S PICK.Bristles with the excitement of discovery and also with the impatience that recognition has taken so long. It refreshes the eyes and the mind.” –A.O. Scott, THE NEW YORK TIMES
“ONE OF THE BEST FILMS I’VE SEEN ABOUT FINE ART. It casts an entrancing spell that allows the staggering depth of its subject’s work to consume us.” —Matt Fagerholm, ROGEREBERT.com
“GORGEOUS...GOES FAR DEEPER THAN THE SURFACE...making an airtight case for af Klint’s ascension to an elevated place in art history.”—Shana Nys Dambrot, LA WEEKLY
Hilma af Klint was an abstract artist before the term existed, a visionary, trailblazing figure who, inspired by spiritualism, modern science, and the riches of the natural world around her, began in 1906 to reel out a series of huge, colorful, sensual, strange works without precedent in painting. The subject of a recent smash retrospective at the Guggenheim Museum, af Klint was for years an all-but-forgotten figure in art historical discourse, before her long-delayed rediscovery. Director Halina Dryschka’s dazzling, course correcting documentary describes not only the life and craft of af Klint, but also the process of her mischaracterization and erasure by both a patriarchal narrative of artistic progress and capitalistic determination of artistic value.
Click here to view a virtual Q&A with Halina Dyrschka, director of BEYOND THE VISIBLE: HILMA AF KLINT, moderated by Matt Fagerholm (RogerEbert.com)!