October 14, 2024
This year I have again spent the last couple of weeks gearing up for and viewing many of the films to be screened at this year’s Chicago International Film Festival – and I have many more to go! The festival runs from Oct. 16-27. These are my capsule reviews (full reviews for most of the films will be published when they receive an official release) of films I’ve seen which play between Wed. Oct. 16 and Mon. Oct. 21. My second installment of additional films reviewed will be published early next week.
Conclave – 3 ½ out of 4 stars
Conclave is a fictional account of the complicated process involved in electing a new Pope.It is directed by Edward Berger, who last scored with his Oscar-winning remake of All Quiet on the Western Front. Ralph Fiennes plays Cardinal Lawrence who as Dean must oversee the election. His main confidant, and the potential new Pope, is Cardinal Bellini, played by Stanley Tucci. Neither is particularly interested in the new position but they want to maintain their more liberal “platforms” with ally Cardinal Tremblay, played by John Lithgow. When questions arise as to Tremblay’s last meeting with the now deceased Pope, the men begin to scramble and attempt to hold on to their power and influence. Exploring scandals, allegiances, and diversity issues, the film tackles a number oftopics that not only are pertinent to the Church but also to governments and elections everywhere. With excellent performances, cinematography, and production design, this is likely to be one of the more thought-provoking and Oscar-worthy films of the year – with some surprising plot turns.
The Special Presentation screens on Oct. 18 at AMC NewCity 14.
This year I have again spent the last couple of weeks gearing up for and viewing many of the films to be screened at this year’s Chicago International Film Festival – and I have many more to go! The festival runs from Oct. 16-27. These are my capsule reviews (full reviews for most of the films will be published when they receive an official release) of films I’ve seen which play between Wed. Oct. 16 and Mon. Oct. 21. My second installment of additional films reviewed will be published early next week.
Conclave – 3 ½ out of 4 stars
Conclave is a fictional account of the complicated process involved in electing a new Pope.It is directed by Edward Berger, who last scored with his Oscar-winning remake of All Quiet on the Western Front. Ralph Fiennes plays Cardinal Lawrence who as Dean must oversee the election. His main confidant, and the potential new Pope, is Cardinal Bellini, played by Stanley Tucci. Neither is particularly interested in the new position but they want to maintain their more liberal “platforms” with ally Cardinal Tremblay, played by John Lithgow. When questions arise as to Tremblay’s last meeting with the now deceased Pope, the men begin to scramble and attempt to hold on to their power and influence. Exploring scandals, allegiances, and diversity issues, the film tackles a number oftopics that not only are pertinent to the Church but also to governments and elections everywhere. With excellent performances, cinematography, and production design, this is likely to be one of the more thought-provoking and Oscar-worthy films of the year – with some surprising plot turns.
The Special Presentation screens on Oct. 18 at AMC NewCity 14.
Desire Lines – 3 out of 4 stars. Directed by Jules Rosskam.
Desire Lines takes an interesting approach in its exploration of the transgender experience. It focuses almost exclusively on female to male transitions and doesn’t emphasize family issues or what their lives were like before transitioning. Instead it attempts to give voice to those in the present to share their own stories and to also travel back in time to hear the voices of brave individuals who expressed their experiences during a previous, and particularly challenging, era. As directed and co-written by Jules Rosskam, the documentary features an ample supply of enlightening recent interviews. There is also a fictionalized depiction of an Iranian-American man who visits an LGBTQ+ archive to uncover television interviews and letters written by Lou Sullivan, a man who shared his transition story in the late 1980s after being diagnosed with AIDS. There are a lot of elements here that come together in a non-traditional way but they do help to get some of the major points across including how sexuality has evolved over time, how lines associated with sexual expression have blurred, and how challenging the world of bathhouses has been for transgender communities.
Screens Oct. 18 & 21. Director Jules Rosskam is scheduled to attend.
Desire Lines takes an interesting approach in its exploration of the transgender experience. It focuses almost exclusively on female to male transitions and doesn’t emphasize family issues or what their lives were like before transitioning. Instead it attempts to give voice to those in the present to share their own stories and to also travel back in time to hear the voices of brave individuals who expressed their experiences during a previous, and particularly challenging, era. As directed and co-written by Jules Rosskam, the documentary features an ample supply of enlightening recent interviews. There is also a fictionalized depiction of an Iranian-American man who visits an LGBTQ+ archive to uncover television interviews and letters written by Lou Sullivan, a man who shared his transition story in the late 1980s after being diagnosed with AIDS. There are a lot of elements here that come together in a non-traditional way but they do help to get some of the major points across including how sexuality has evolved over time, how lines associated with sexual expression have blurred, and how challenging the world of bathhouses has been for transgender communities.
Screens Oct. 18 & 21. Director Jules Rosskam is scheduled to attend.
The Last Republican 3 ½ out of 4 stars
The Last Republican, follows Republican U.S. Congressman Adam Kinzinger during his final fourteen months in office. Kinzinger was one of ten Republicans who voted to impeach Donald Trump after the January 6th insurrection. Kinzinger shares how reluctant he was to get involved with the committee that ultimately lead to that impeachment. Kinzinger was censored and “kicked out” of his own party. During the documentary, he recounts his feelings of isolation at the time, how frustrated he became, and the opportunities he felt that the committee missed to take their work even further. He also addresses how difficult the period was for his personal life, especially for his pregnant wife Sofia, as they endured harassing calls and death threats (some of which we hear.) The film is directed by Steve Pink, who is perhaps most famous for his movie Hot Tub Time Machine. These two very different individuals from opposite sides of the political spectrum come together and make a significant historical film about bravery, commitment, and standing up for what they believe is right.
Screens Oct. 18 & 19. Director Steve Pink is scheduled to attend both.
The Last Republican, follows Republican U.S. Congressman Adam Kinzinger during his final fourteen months in office. Kinzinger was one of ten Republicans who voted to impeach Donald Trump after the January 6th insurrection. Kinzinger shares how reluctant he was to get involved with the committee that ultimately lead to that impeachment. Kinzinger was censored and “kicked out” of his own party. During the documentary, he recounts his feelings of isolation at the time, how frustrated he became, and the opportunities he felt that the committee missed to take their work even further. He also addresses how difficult the period was for his personal life, especially for his pregnant wife Sofia, as they endured harassing calls and death threats (some of which we hear.) The film is directed by Steve Pink, who is perhaps most famous for his movie Hot Tub Time Machine. These two very different individuals from opposite sides of the political spectrum come together and make a significant historical film about bravery, commitment, and standing up for what they believe is right.
Screens Oct. 18 & 19. Director Steve Pink is scheduled to attend both.
Memoir of a Snail – 3 ½ out of 4 stars
Director Adam Elliot, who previously won an Oscar for his short animated film Harvey Krumpet, creates a beautifully dark and moody stop motion feature-length work with Memoir of a Snail. Succession’s Sarah Snook voices Grace, a woman who tells her life story to her pet snail Sylvia. In typical memoir form, she starts at the beginning and travels through all of the ups and downs of her life. This isn’t your typical American, child-focused animated film though. It is an Australian work which explores a number of issues including alcoholism, homelessness, death, hording, and Alzheimer’s disease. In addition to Snook, the film features an ensemble that includes Jacki Weaver, Eric Bana, Kodi-Smit McPhee, and Nick Cave who all do excellent work bringing to life some wonderfully developed, often very witty, and relatable characters. This is not an animated film for those who want the intricate and visual effects laden worlds of last year’s big hits The Boy and the Heron or Spiderman: Across the Spider Verse. This is a human story that is much more accessible to a wider audience of adults and mature teens that appreciate some well-developed life stories…and a few pet snails.
Screens Oct. 17 & 18. Director Adam Elliot is scheduled to attend.
Director Adam Elliot, who previously won an Oscar for his short animated film Harvey Krumpet, creates a beautifully dark and moody stop motion feature-length work with Memoir of a Snail. Succession’s Sarah Snook voices Grace, a woman who tells her life story to her pet snail Sylvia. In typical memoir form, she starts at the beginning and travels through all of the ups and downs of her life. This isn’t your typical American, child-focused animated film though. It is an Australian work which explores a number of issues including alcoholism, homelessness, death, hording, and Alzheimer’s disease. In addition to Snook, the film features an ensemble that includes Jacki Weaver, Eric Bana, Kodi-Smit McPhee, and Nick Cave who all do excellent work bringing to life some wonderfully developed, often very witty, and relatable characters. This is not an animated film for those who want the intricate and visual effects laden worlds of last year’s big hits The Boy and the Heron or Spiderman: Across the Spider Verse. This is a human story that is much more accessible to a wider audience of adults and mature teens that appreciate some well-developed life stories…and a few pet snails.
Screens Oct. 17 & 18. Director Adam Elliot is scheduled to attend.
My Stolen Planet – 4 stars out of 4
In 1979 filmmaker Farahnaz Sharifi was born in Iran – three weeks after the Islamic Revolution. The effects this would have on not only Sharifi but for all women in the country is staggering. In her powerful new documentary, My Stolen Planet, Sharifi describes, through voice over narration and photos, how women rose up to protest in droves. Ultimately though, they were left with few freedoms outside of their homes and were required to wear a hijab, which the director describes as “a piece of fabric,” while outside. The director’s mission is to preserve and archive the stories of these women from before the revolution through today. As shown, Sharifi often buys films from store owners who somehow got hold of lost or stolen Super 8 home movies that were shot prior to 1979. In those films, we see women enjoying life out in the streets of Iran, free from any government required hijabs or restrictions. Most of these films are in very raw form, often out of focus or visually grainy. Still, they’re important as they document what life was like then and what women are fighting to get back today.
Screens Oct. 19 & 24.
In 1979 filmmaker Farahnaz Sharifi was born in Iran – three weeks after the Islamic Revolution. The effects this would have on not only Sharifi but for all women in the country is staggering. In her powerful new documentary, My Stolen Planet, Sharifi describes, through voice over narration and photos, how women rose up to protest in droves. Ultimately though, they were left with few freedoms outside of their homes and were required to wear a hijab, which the director describes as “a piece of fabric,” while outside. The director’s mission is to preserve and archive the stories of these women from before the revolution through today. As shown, Sharifi often buys films from store owners who somehow got hold of lost or stolen Super 8 home movies that were shot prior to 1979. In those films, we see women enjoying life out in the streets of Iran, free from any government required hijabs or restrictions. Most of these films are in very raw form, often out of focus or visually grainy. Still, they’re important as they document what life was like then and what women are fighting to get back today.
Screens Oct. 19 & 24.
Okie – 2 ½ out of 4 stars
In Okie (a title I don’t quite get given that the film was shot in Illinois, far west of the Chicago area) Louie Mulgrin returns to his home town, after a seemingly successful career as a writer, to deal with the remains of his deceased father’s house. Most of the film is less focused on that reason for being there though and more about his coming to terms with his past. Louie had written stories about his home town depicting it in a not particularly favorable light. He quickly runs into several people from his past, including Lainey (played by the film’s director Kate Cobb), a woman he once had a relationship with, and Travis (played by screenwriter, Kevin Bigley) who clearly knows how to bring Louie back to his rebellious younger self. Ultimately though, the script doesn’t take us in any previously untraveled terrain. The film itself is solidly produced. The narrative is tightly edited, the cinematography is often quite commendable, and the acting is consistently strong. However, there are elements to the script that remain a bit of a mystery. Why did Louie leave? What was his relationship with his father? Perhaps more importantly, what is his psychological condition? Throughout the film, Louie experiences strong ringing and buzzing in his ears. It’s not clear what he is dealing with internally. Still, this is a project that has some solid Illinois roots.
Screens Oct. 19 & 20. Director Kate Cobb and producer/writer/actor Kevin Bigley are scheduled to attend.
In Okie (a title I don’t quite get given that the film was shot in Illinois, far west of the Chicago area) Louie Mulgrin returns to his home town, after a seemingly successful career as a writer, to deal with the remains of his deceased father’s house. Most of the film is less focused on that reason for being there though and more about his coming to terms with his past. Louie had written stories about his home town depicting it in a not particularly favorable light. He quickly runs into several people from his past, including Lainey (played by the film’s director Kate Cobb), a woman he once had a relationship with, and Travis (played by screenwriter, Kevin Bigley) who clearly knows how to bring Louie back to his rebellious younger self. Ultimately though, the script doesn’t take us in any previously untraveled terrain. The film itself is solidly produced. The narrative is tightly edited, the cinematography is often quite commendable, and the acting is consistently strong. However, there are elements to the script that remain a bit of a mystery. Why did Louie leave? What was his relationship with his father? Perhaps more importantly, what is his psychological condition? Throughout the film, Louie experiences strong ringing and buzzing in his ears. It’s not clear what he is dealing with internally. Still, this is a project that has some solid Illinois roots.
Screens Oct. 19 & 20. Director Kate Cobb and producer/writer/actor Kevin Bigley are scheduled to attend.
Peacock – 3 ½ out of 4 stars
During the opening scene of first-time feature director Bernhard Wenger’s film Peacock, a golf cart is burning out of control. In a single take, two people show up with extinguishers to bravely put the fire out. One of them is Matthias, played by Albrecht Schuch. We learn shortly after that Matthias is a companion for hire. Nothing is sexual here, he just works for a company that offers such services to anyone willing to pay. In one case, an older man hires him to act as his son in order to get into an exclusive club. Then there’s a woman named Vera who wants Matthias to teach her how to argue with her troublesome husband. Here, Wenger seems to be exploring modern society’s need for comfort, the latest technological devices, and perfection. Anyone can rent a person, dog, or device to satisfy their needs for a better life. Of course, with all progress comes the occasional failure. There are comparisons to be made here to the absurdist comedies of Ruben Ostlund (Triangle of Sadness) and the very funny social commentaries made by mid-century filmmaker Jacques Tati (Mon Oncle, Playtime.) Wenger fits nicely into their company.
Screens Oct. 17 & 18. Director Bernhard Wegner is scheduled to attend.
During the opening scene of first-time feature director Bernhard Wenger’s film Peacock, a golf cart is burning out of control. In a single take, two people show up with extinguishers to bravely put the fire out. One of them is Matthias, played by Albrecht Schuch. We learn shortly after that Matthias is a companion for hire. Nothing is sexual here, he just works for a company that offers such services to anyone willing to pay. In one case, an older man hires him to act as his son in order to get into an exclusive club. Then there’s a woman named Vera who wants Matthias to teach her how to argue with her troublesome husband. Here, Wenger seems to be exploring modern society’s need for comfort, the latest technological devices, and perfection. Anyone can rent a person, dog, or device to satisfy their needs for a better life. Of course, with all progress comes the occasional failure. There are comparisons to be made here to the absurdist comedies of Ruben Ostlund (Triangle of Sadness) and the very funny social commentaries made by mid-century filmmaker Jacques Tati (Mon Oncle, Playtime.) Wenger fits nicely into their company.
Screens Oct. 17 & 18. Director Bernhard Wegner is scheduled to attend.
The Return of the Projectionist – 3 out of 4 stars
The Return of the Projectionist is a film from Azerbaijani, a country not typically known for producing a lot of movies. Yet there seems to be a real love of cinema there based on the contents of this film. It is categorized as a documentary although it feels very much like a fictionalized account of something that might have happened. It’s a simple story really: Samid is an older gentleman who in the past projected films for villagers in this rural part of the country. It’s not clear why but he decides it’s time to dust off the old projectors and start showing films again. With the help of a mature, budding sixteen-year old filmmaker named Ayaz, the two embark on a journey to revive the cinema-going experience. The biggest question I had surrounding this film was how much of it truly was a documentary. Camera set-ups, in particular, suggest a pretty sophisticated crew that was able to capture some beautiful establishing shots of the hilly village as well as multi-camera perspectives during various dialogue scenes. There are no interviews or attempts at narration included. Still, the charm of the film is that it is about two people’s love of cinema and a desire to capture the excitement of sitting in a darkened space while moving images are projected onto a wall (well, in this case, a sheet.)
Screens Oct. 20 & 21. Director Orkhan Agazadeh is scheduled to attend.
The Return of the Projectionist is a film from Azerbaijani, a country not typically known for producing a lot of movies. Yet there seems to be a real love of cinema there based on the contents of this film. It is categorized as a documentary although it feels very much like a fictionalized account of something that might have happened. It’s a simple story really: Samid is an older gentleman who in the past projected films for villagers in this rural part of the country. It’s not clear why but he decides it’s time to dust off the old projectors and start showing films again. With the help of a mature, budding sixteen-year old filmmaker named Ayaz, the two embark on a journey to revive the cinema-going experience. The biggest question I had surrounding this film was how much of it truly was a documentary. Camera set-ups, in particular, suggest a pretty sophisticated crew that was able to capture some beautiful establishing shots of the hilly village as well as multi-camera perspectives during various dialogue scenes. There are no interviews or attempts at narration included. Still, the charm of the film is that it is about two people’s love of cinema and a desire to capture the excitement of sitting in a darkened space while moving images are projected onto a wall (well, in this case, a sheet.)
Screens Oct. 20 & 21. Director Orkhan Agazadeh is scheduled to attend.
Thesis on a Domestication – 3 out of 4 stars
Thesis on a Domestication is a contemporary, no holds barred, look at a transgender actress and the life she decides to develop with her gay husband. It’s the kind of story that could only be told today for all that it wants to be and express. Camila Sosa Villada plays the actress who, at the start of the film, is in the throes of a successful acting career and lifestyle which is filled with plenty of partying and open sexual behavior. She then strikes up a connection with Alfonso Herrera, who is gay but clearly smitten with Villada. The first half of the film is admittedly a bit heavily focused on the wild nature of these characters’ lives. Like the characters, it takes a long time to finally settle down into its exploration on the domestication of this non-traditional family in the making. Villada herself wrote the novel from which this film is based. She, along with the director and Laura Huberman, composed the screenplay which wants to present the dichotomous nature of the world in which these characters live. They’re also not trying to say these characters are perfect in any way. They clearly come from backgrounds that aren’t prone to a traditional style of domestication. They struggle with their own sense of culture and attempt to bridge those two worlds.
Screens Oct. 19 & 20. Director Javier Van de Couter is scheduled to attend.
Thesis on a Domestication is a contemporary, no holds barred, look at a transgender actress and the life she decides to develop with her gay husband. It’s the kind of story that could only be told today for all that it wants to be and express. Camila Sosa Villada plays the actress who, at the start of the film, is in the throes of a successful acting career and lifestyle which is filled with plenty of partying and open sexual behavior. She then strikes up a connection with Alfonso Herrera, who is gay but clearly smitten with Villada. The first half of the film is admittedly a bit heavily focused on the wild nature of these characters’ lives. Like the characters, it takes a long time to finally settle down into its exploration on the domestication of this non-traditional family in the making. Villada herself wrote the novel from which this film is based. She, along with the director and Laura Huberman, composed the screenplay which wants to present the dichotomous nature of the world in which these characters live. They’re also not trying to say these characters are perfect in any way. They clearly come from backgrounds that aren’t prone to a traditional style of domestication. They struggle with their own sense of culture and attempt to bridge those two worlds.
Screens Oct. 19 & 20. Director Javier Van de Couter is scheduled to attend.
When the Light Breaks – 3 out of 4 stars
The Icelandic film When the Light Breaks begins with Ina and Diddi enjoying their time together under a sunset sky while making future plans. It appears that they are in a relatively new relationship but it is strong enough for them to decide that Diddi will break up with his current girlfriend Klara the next day. Then, Diddi is involved in a fatal tunnel explosion while attempting to leave town. The rest of the film features Ina and their various friends dealing with the aftermath and grief. Then Klara arrives… The film as a whole doesn’t really go anywhere else besides this. There is great anticipation that eventually the truth of Ina and Diddi’s relationship will be revealed but for the most part, we remain in a state of grief with Ina and their friends. When the Light Breaks emphasizes unspoken feelings, which for some might make the film feel a bit lacking but for others will make for something more universal and meaningful. Anyone who has ever dealt with some kind of grief will recognize the pain that Ina feels. Perhaps it will make us all much more sensitive to anyone who might be affected by a loved one’s sudden passing.
Screens Oct. 20 & 21. Director Runar Runarsson is scheduled to attend.
The Icelandic film When the Light Breaks begins with Ina and Diddi enjoying their time together under a sunset sky while making future plans. It appears that they are in a relatively new relationship but it is strong enough for them to decide that Diddi will break up with his current girlfriend Klara the next day. Then, Diddi is involved in a fatal tunnel explosion while attempting to leave town. The rest of the film features Ina and their various friends dealing with the aftermath and grief. Then Klara arrives… The film as a whole doesn’t really go anywhere else besides this. There is great anticipation that eventually the truth of Ina and Diddi’s relationship will be revealed but for the most part, we remain in a state of grief with Ina and their friends. When the Light Breaks emphasizes unspoken feelings, which for some might make the film feel a bit lacking but for others will make for something more universal and meaningful. Anyone who has ever dealt with some kind of grief will recognize the pain that Ina feels. Perhaps it will make us all much more sensitive to anyone who might be affected by a loved one’s sudden passing.
Screens Oct. 20 & 21. Director Runar Runarsson is scheduled to attend.
More to come!
