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The Chicago Rep-port: 6/23 to 6/29, by Aaron Pinkston

22 Jun


Repertory screenings may not be as abundant in Chicago as they are in LA/NY, but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

Jean-Pierre Melville: Criminal Codes reaches its penultimate week with three more from the French auteur of cool, including some of his more enigmatic. 

Le Samouraï (Jean-Pierre Melville, 1967, archival 35mm) might be the director’s masterpiece. At the very least, it has come to define his overall style with the simple look of Alain Delon at the center – the expressionless face, the trench coat and large brimmed hat, and his professional criminal code. It might not have created the lonesome hitman film genre but it has undoubtedly influenced a number of modern crime masterpieces from some of world cinema’s most prolific filmmakers. The ice-cold thriller screens on Friday and Saturday.

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The Chicago Rep-port: 6/16 to 6/22, by Aaron Pinkston

15 Jun

Repertory screenings may not be as abundant in Chicago as they are in LA/NY but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

The third week of the Jean-Pierre Melville: Criminal Codes series shifts to two of the auteur’s less notable works. Second Breath (Jean-Pierre Melville, 1966, archival 35mm) and Two Men in Manhattan (Jean-Pierre Melville, 1959, DCP) may not be as popular or beloved as Le Cercle Rouge or the upcoming Army of Shadows but they both showcase the themes and style that make the director a distinct one.

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The Chicago Rep-port: 6/9 to 6/15, by Aaron Pinkston

8 Jun

Repertory screenings may not be as abundant in Chicago as they are in LA/NY but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

Jean-Pierre Melville: Criminal Codes continues on into its second week with a double feature of austere Jean-Paul Belmondo star vehicles. First up, on Saturday and Tuesday, is Le Doulos (Jean-Pierre Melville, 1962, 35mm), a hard-boiled noir with a recently released burglar Maurice (Serge Reggiani), who confides in his friend Serge (Belmondo) for help with a future crime—but can Serge, secretly a police informant, be trusted?

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The Chicago Rep-port: 6/2 to 6/8, by Aaron Pinkston

1 Jun

Repertory screenings may not be as abundant in Chicago as they are in LA/NY, but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

With the calendar turning to June, the dawn of new film series has come. The Siskel Film Center is celebrating an ultra-cool French New Wave auteur with their retrospective Jean-Pierre Melville: Criminal Codes. The series starts with a bang with two of Melville’s most important films: the nightclub noir Bob le flambeur (Jean-Pierre Melville, 1955, 35mm) and all-time crime classic Le Cercle Rouge (Jean-Pierre Melville, 1970, DCP). These two films are a perfect introduction to Melville’s specific style and dark undertones, full of crime and shadow.

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The Chicago Rep-port: 5/26 to 6/1, by Aaron Pinkston

25 May

Repertory screenings may not be as abundant in Chicago as they are in LA/NY but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

The Essential Lina Wertmüller series enters its final week with two remaining films: Love and Anarchy (Lina Wertmüller, 1973, DCP) and Ferdinando and Carolina (Lina Wertmüller, 1999, DCP). Love and Anarchy, playing on Saturday and Thursday this week, is an alluring period comedy with a plan to assassinate Mussolini plot. Ferdinando and Carolina (Saturday and Tuesday) is set in 18th Century Naples, featuring the comedic sexual lives of the upper and royal classes. As has been the case throughout the series, you can catch them both on Saturday, May 27 for a reduced cost.

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The Chicago Rep-port: 5/19 to 5/25, by Aaron Pinkston

18 May

Repertory screenings may not be as abundant in Chicago as they are in LA/NY but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

The Siskel’s offerings are a bit light on the rep screening front this week, save for their continued profile series on Italian director Lina Wertmüller. This week showcases two more wild dark comedies: The Seduction of Mimi (Lina Wertmüller, 1972, DCP) and Summer Night (Lina Wertmüller, 1986, DCP). Both films star Wertmüller muse Mariangela Melato amidst gloriously shot and steamy crime and violence. If you’re interested in a double bill, you can see both on Saturday, May 20 for a discounted price. Otherwise, Summer Night is also showing on Monday, May 22 while The Seduction of Mimi replays on Wednesday, May 24.

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The Chicago Rep-port: 5/12 to 5/18, by Aaron Pinkston

11 May

Repertory screenings may not be as abundant in Chicago as they are in LA/NY but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

Leading the Siskel’s week of limited engagements is a rep showcase of a new 4k restoration of Taipei Story (Edward Yang, 1985, DCP). The leading filmmaker of the New Taiwanese Cinema, Yang’s second feature was his international breakthrough, a vibrant drama where traditional Chinese society and modernized Western cultures collide in the emerging Taiwan. The film runs on Friday, May 12 and Sunday, May 14.

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The Chicago Rep-port: 5/5 to 5/11, by Aaron Pinkston

5 May

Repertory screenings may not be as abundant in Chicago as they are in LA/NY, but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.

Gene Siskel Film Center, 164 N State St

All month long, the Siskel Film Center will be running a new series called “The Essential Lina Wertmüller,” looking at the best work from the underrated director. They are kicking off the series with her masterpiece, Seven Beauties (Lina Wertmüller, 1975, DCP). Oscar trivia buffs know that this was the film that made Wertmüller the first woman to be nominated for Best Director. Screenings for the film are being held on Friday, May 5 (with a reception sponsored by the Italian Cultural Institute) and Sunday, May 7.

Continuing the New Sensory Cinema School of the Art Institute of Chicago series is Innocence (Lucile Hadzihalilovic, 2004, 35mm). The film is a strange take on the coming-of-age story wherein a young girl awakens on the grounds of a boarding school and must adapt to their mysterious rules. Innocence screens on Sunday, May 7 and Tuesday, May 9 with a post-screening discussion led by professor Melika Bass.

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Ebertfest 2017: Day Four, by Aaron Pinkston

27 Apr

I always have mixed emotions about Saturday at Ebertfest. It is the busiest day, with an extra matinee screening—and who would complain about more movies? But considering I’m already exhausted from the week, tired of eating garbage food for every meal and missing home, the end seems sweet. Thankfully, the festival will end with a bang for me, with two profile documentaries, a 90s fantasy well worth revisiting, and my first viewing of a Hal Ashby classic comedy.

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Ebertfest 2017: Day Three, by Aaron Pinkston

26 Apr

Whereas Day Two of the 2017 Roger Ebert’s Film Festival highlighted its aims to showcase the overlooked and underappreciated, Day Three showed off its diverse interests.

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