(Joaquim Pedro de Andrade, 1966) · This lyrical adaption of Mario de Andrade's poem of the same name veils its criticism of Brazilian government behind the allegorical story of the arrival of a young priest to a small town in Minas Gerais. His presence, controversial from the start with the town's conservative populace, soon threatens to unleash conflict when he becomes embroiled in a forbidden love affair. What follows is a deft and critical tone poem of both political and emotional turmoil.
runtime: 90m format: 35mm
(Terrence Malick, 1978 · 40th Anniversary! "Landscape is character," wrote Henry James, and rarely has a film fixed its eye so closely upon the golden sprawl of the American West as Malick's masterpiece. A Chicago steel worker flees with his girlfriend and sister to the Texas panhandle to work for a sickly farmer, in this rumination on the pioneer myth that proves as quietly devastating as it is beautiful. Days of Heaven sears itself into the senses with its magic-hour cinematography, and some of the most lyrical narration ever put to screen.
runtime: 95m format: 35mm
(Johnnie To, 1999) · An ex-con (Lau Ching-wan) is released from prison and sets out to find a missing $2 million and his ex-wife. He gets diverted, however, when he and his innkeeper (Ruby Wong), a lonely single mother, find themselves drawn to each other. A rare dramatic romance from Milkyway, Where a Good Man Goes breathes new life into hackneyed narrative devices on the strength of its leads and To's excellently realized sense of urban space in its Macau setting.
runtime: 92m format: 35mm
(Johnnie To, 1993) · Before Michelle Yeoh was kicking ass as the matriarch of Crazy Rich Asians, she was kicking ass in this trio of evil-vanquishing superheroines. Fellow Hong Kong superstars Maggie Cheung and Anita Mui round out the eponymous team of martial arts masters, who step up to challenge an ancient supernatural villain bent on conquering the world by kidnapping babies destined to become emperors. To's frenetic, unhinged action scenes lend the film a delightfully campy air. Print courtesy of the Academy Film Archive
runtime: 104m format: 35mm
(Chantal Akerman, 1982) · During a torrid summer night in Brussels, a cast of drifting figurants (over two dozen of them) search restlessly for companionship, colliding with and separating from one another like hopped-up molecules of boiling water. Stripped of a narrative through-line, the film brims with longing as it surveys the detritus of attempted relationships. From this series of encounters between strangers and lovers, Toute Une Nuit fashions a kaleidoscopic choreography of missed chances and tentative connections.
runtime: 90m format: 35mm
(Michael Powell, 1960) · In the age of "la société du spectacle," Michael Powell's 1960 Peeping Tom is now more timely than ever. The film follows a filmmaking serial killer who captures his victims' dying moments on videotape to use as footage for his documentary on fear. Probing the ethical questions of documentary filmmaking, voyeurism, and the portrayal of violence against women in film, Peeping Tom not only inaugurates the slasher film genre, but engages with it critically through its disturbing mise-en-abyme.
runtime: 101m format: DCP
(Herk Harvey, 1962) · "I don't belong in the world," says Mary Henry, and the young lady is correct. A drag race ends in an unexpected swim in the river with a totaled car. Three hours later, Mary emerges unharmed and drives to Utah where she is taking a job as a church organist--but it soon becomes apparent the neither she nor the world are quite the same. Mary sleepwalks through a twilight zone towards the Carnival of Souls, the somewhere and nowhere that may be a key to it all.
runtime: 84m format: DCP
(Miloš Forman, 1971) · Forman's first film made in the United States, Taking Offis a hilarious send-up of American life in the early 70s. The story follows Larry and Lynn Tyne, a buttoned-up all-American couple whose daughter runs away from home. When they enroll in a support group for parents of wayward children, the Tynes participate a little bit in youth culture themselves. No demographic is spared in this riotous but affectionate comedy about generational differences.
runtime: 93m format: 35mm
(Ari Aster, 2018) · Dubbed the scariest movie of 2018, Hereditary is the latest horror release from indie studio A24 (The Witch), telling the story of a supernatural family curse that begins to manifest itself in the Graham family's young daughter after the death of her grandmother. Aster's terrifying psychodrama draws out and amplifies the inherent horror of familial relations, genetic inheritances, and grief over a loved one, cuing a feminist horrorfest unlike any you've ever seen. Happy Halloweekend!
runtime: 127m format: DCP
(Abbie Reese, 2018) · This documentary is a coming-of-age story--the female hero's journey--focusing on Heather as she is in the process of becoming Sister Amata. Chosen is a collaboration between Director Abbie Reese and the nun-in-training (a former blogger and painter). Abbie began interviewing Heather in 2005 and obtained permission, after the young woman joined the Corpus Christi Monastery in 2011, to lend her a video camera to document monastic life and her own impressions. Sister Amata conveys, in the captivating footage, her struggles and aims as she attempts to assimilate into a strict religious order that traces to medieval times and Saint Francis. The contemplative nuns make a vow of enclosure, seek anonymity, and observe monastic silence. The nuns withdraw from the world and embrace a life of penance to pray for the rest of humanity. There will be a Q&A with Director Abbie Reese after the screening. The screening is sponsored by The University of Chicago Divinity School's Martin Marty Center for the Public Understanding of Religion. The Seminary Co-op Bookstore will be on-hand with paperbacks and hardcover copies of Dedicated to God: An Oral History of Cloistered Nuns (Oxford University Press, 2014).
runtime: 110m format: DCP
(Michelangelo Antonioni, 1960) · When a young woman disappears during a yachting party in the Mediterranean, it falls to her lover and her best friend to search for her. In the first film of his trilogy on "modernity and its discontents," Antonioni lingers on the alienated pair as they drift into inconstancy and empty love. Ennui suffuses every detail, from a score that Antonioni called "jazz written in the Hellenic era," to the glacially pretty, dead-eyed gaze that propelled Monica Vitti to stardom.
runtime: 145m format: 35mm