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                      Founded in 1997 by Alisa Stars and Bob Scarpelli in collaboration with Spike Lee, the Black Perspectives program at the Chicago International Film Festival has been highlighting films from the African and African American perspective for over two decades. The program premiered “I Will Follow” by Ava DuVernay in 2010, and has highlighted works by Lee Daniels, George Tillman, Maya Angelou, Ousmane Sembene, Abderrahmane Sissako, Steve McQueen, and many more. It also features an annual tribute—past honorees have included Viola Davis, Forest Whitaker, and Sidney Poitier, along with panel discussions. While 2020 has been a different year for the Chicago International Film Festival, the Black Perspectives program remains an essential part of the experience, even if much of it is virtual this year.

                      Highlights this year in the Black Perspectives program include Bad Hair,” writer/director Justin Simien’s long-awaited follow-up to “Dear White People.” A much-longer cut played at Sundance, which we covered here, saying, “There are imagery and ideas in it that I won’t forget for a long time, and I can’t wait to see how people respond to its insane ambition and memorable imagery.” The Drive-in screening of “Bad Hair” is sold-out, but if you can’t watch it as a part of CIFF, it will be on Hulu on October 23rd, and we will write about this daring movie more extensively then.

                      One of the biggest events of every film festival that books it this year is the statement made by the directorial debut of Regina King with “One Night in Miami.” Adapted from the award-winning play of the same name, it imagines a night in Florida in which Cassius Clay, Malcolm X, Sam Cooke, and Jim Brown end up in the same hotel room, discussing race, celebrity, and the responsibility of when the two intertwine. It is a smart film with fantastic performances from its quartet, particularly Kingsley Ben-Adir. Read more about it here.  

                      Another highlight making the journey from Sundance to CIFF is “Farewell Amor,” from Tanzanian-American director Ekwa Msangi. The film premiered in competition at Park City, where Nick Allen praised its “lovely tenderness” and wrote how it is “comprised of three excellent performances and many quiet conversations.”

                      Streaming as a part of the Black Perspectives program is the latest documentary from the legendary Sam Pollard, who uses entirely archival footage to tell the story of “MLK/FBI,” a study in how the U.S. government sought not only to besmirch Reverend King but to hold back the entire protest movement in the process. Writing about this excellent film as a part of virtual TIFF coverage, we said, “It is a finely tuned, perfectly edited film, one that builds to a remarkably current chapter about the power and need for legal protest, and what it says about the failures of a country that doesn’t encourage it.”

                      Luchina Fisher’s “Mama Gloria” has that connection to Chicago that often makes for the most remarkable CIFF experiences. It’s the story of Gloria Allen, Chicago’s Black transgender icon. In his fest preview, Peter Sobczynski wrote, “Her story, which she recounts in detail that is both moving and entertaining, serves as an effective way to see how the community as a whole has grown and developed since she first emerged in the Sixties.”

                      Other films in the Black Perspectives program include “Night of the Kings,” “The Special,” “Sylvie’s Love,” and a series of short films. Find out more here.




                      Original: https://www.rogerebert.com/festivals/ciff-2020-black-perspectives-program-highlights-diverse-voices
                      By: Brian Tallerico
                      Posted: October 17, 2020, 5:23 pm

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                      Starting in 2014, the Chicago International Film Festival chose to honor one of its most vocal advocates by presenting the Roger Ebert Award to a debut filmmaker from the New Directors Program. The festival has described it thusly: “The Roger Ebert Award will be presented annually to an emerging filmmaker whose film presents a fresh and uncompromising vision.” Past winners include “La Tirisia” (2014), “Nahid” (2015), “Kills on Wheels” (2016), “Killing Jesus” (2017), “Little Tickles” (2018), and “Adam” (2019).

                      This year’s New Directors Program highlights the international aspect of CIFF, including new voices from around the world. Films included in the program are listed below with descriptions from the official site:

                      “Any Crybabies Around?” (Sato Takuma)

                      In this sensitive, assured drama, rising star Taiga Nakano plays young parent Tasuku, who flees to Tokyo in shame after being caught drunk and naked on national TV during a local festival. After years of rock-bottom city living, he returns home, ready to embrace adulthood. But will the town and his family have him back?

                      “Becoming Mona” (Sabine Lubbe Bakker, Niels van Koeverden)

                      Life is what happens when you stop living for others and start living for yourself. This poignant tragicomic journey of courage follows Mona from early childhood, when she is inculcated to be a quiet, obedient presence in the world. She blossoms into a talented young artist, but years of repressing her feelings have impaired her emotionally, binding her to unhealthy relationships at work and at home. Still, there is a fierce, independent spirit that lies inside her, waiting to be liberated. Assured direction coaxes flawless, seamlessly connected performances from actresses Tanya Zabarylo and Olivia Landuyt in the title role as a young woman and young girl respectively.

                      “Gaza Mon Amour” (Tarzan & Arab Nasser)

                      Sixty-year-old Palestinian fisherman and lifelong bachelor Issa (Salim Daw) holds a secret torch for Siham (Hiam Abbas), a dressmaker at the market. Just as he is getting up the courage to propose to her, Issa nets an ancient statue of a well-endowed, larger-than-life-sized Apollo. When the Hamas authorities get wind of the existence of this mysterious treasure, the troubles begin. Has Apollo fated Issa to a loveless life? Will he be able to find his way back to Siham? Twin directors Tarzan and Arab Nasser (Dégradé) return to the Festival with this gentle, layered love story set against a playfully sly snapshot of life in modern-day Gaza, with all of its entanglements and absurdity.

                      “Memory House” (João Paulo Miranda Maria)

                      In southern Brazil—in a strange Austrian colony of sorts lost in time—indigenous-Black man Cristovam has arrived from the north to take a job at a milk factory. In the face of unrelenting xenophobia and racism, he finds refuge in an abandoned house filled with art objects and folkloric memorabilia that connect him back to his roots. Soon, the mysterious relics start to provoke a metamorphosis within him. Endowed with a newfound sense of identity and power, Cristovam’s quiet forbearance turns to emboldened action—and tension mounts, building to a mythic, stunning conclusion. Rich, evocative photography and an unsettling tone envelop this uncanny tale that unmasks the social, racial, and political tensions facing Brazil today.

                      “Of Fish and Men” (Stefanie Klemm)

                      In this taut thriller set in the idyllic Swiss countryside, a single mom is raising her young daughter and running the family fish farm with the help of a farmhand-turned-friend. When his brother unexpectedly appears in search of debts owed, the specter of impending disaster looms large.

                      “Preparations to Be Together for an Unknown Period of Time” (Lili Horvát)

                      After building a successful career in the U.S., gifted neurosurgeon Márta impulsively returns home to Hungary in pursuit of the man of her dreams, but when she tracks him down in Budapest, he claims they’ve never met. Is he spinning an elaborate deception or has her obsession trapped her in a world of illusions?

                      “Schoolgirls” (Pilar Palomero)

                      Growing up in small-town Spain in the early ’90s, 11-year-old Celia is ever the responsible student and considerate daughter. When impossibly cool Brisa storms in from Barcelona, she upsets the order of the girls’ strict Catholic school, run by nuns with a stern disposition and an iron fist. Unexpectedly, the two girls become fast friends, and soon Celia is swept up in a rebellious clique that breaks all the rules and flaunts authority. Her eyes newly opened to the world, Celia starts to raise questions about her own family background, including her absent father. This astute drama—in which the young character’s coming of age mirrors the post-Franco restless social energy around her—is anchored by salient performances from its young cast, who effortlessly convey the tensions and anxieties of adolescence.

                      “Sleep” (Michael Venus)

                      After a woman’s recurring nightmares send her on a search for answers, both she and her daughter find themselves drawn to a hotel where they become trapped in a web of unsettling visions as dreams and reality collide. A horror-tinged thriller that channels Grimms’ Fairy Tales by way of David Lynch.

                      “The Special” (Ignacio Márquez)

                      In this deftly told and uplifting debut, a profoundly charming young man must navigate the challenges of early adulthood with Down Syndrome as he seeks to build a life of independence from his troubled father. Long separated by an ocean of silence and shame, will the two men be able to assemble a common future?

                      “Spring Blossom” (Suzanne Lindon)

                      Writer-director Suzanne Lindon delivers an astonishingly assured turn as a restless Parisian teen bored by her peers and confronting her burgeoning sexuality. She embarks on a love affair with an actor 20 years her senior—only to wonder if the more innocent pleasures of youth are passing her by.

                      “Striding into the Wind” (Wei Shujun)

                      Fed up with his final year at film school, skilled sound recordist Kun takes up with a student production and embarks on a journey of self-discovery across China’s lush, varied landscape. Featuring winning performances and directed with a wry emotional clarity, Striding into the Wind is a keenly-observed meditation on movies, modern China, and the meandering restlessness of youth.

                      Find out more and get virtual access here.




                      Original: https://www.rogerebert.com/festivals/ciff-2020-the-roger-ebert-award-returns-to-champion-new-voices
                      By: Brian Tallerico
                      Posted: October 17, 2020, 5:21 pm

                      • Entertainer
                        Entertainer published a blog post Rhonda Fleming: 1923-2020

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                        With her flaming red hair and lush figure, Rhonda Fleming was one of the most beautiful women in movies in the 1950s. She was sometimes known, like her fellow redhead Maureen O’Hara, as the Queen of Technicolor, a label she found limiting, though Fleming herself said that she preferred color to the black and white of her first 1940s films. “I’m glad I was a star back then and not now,” Fleming said. “I never had to take my clothes off to appear sexy.”

                        Fleming was born Marilyn Louis in Hollywood, and her mother was a model and actress. She attended Beverly Hills High School and she was discovered, as they used to say, by the talent agent Henry Willson. “He stopped me crossing the street,” Fleming claimed. “He signed me to a seven-year contract without a screen test. It was a Cinderella story, but those could happen in those days.”

                        Willson brought her to the attention of David O. Selznick, who put her under contract and had her playing bit roles before her first standout part as a psychiatric patient who hates men in Alfred Hitchcock’s “Spellbound” (1945). Hitchcock gives Fleming a showcase right at the start of the film; she is brought in to see her doctor (Ingrid Bergman) and scratches the male orderly accompanying her after behaving in a very seductive way with him. “I hate men, I loathe them,” Fleming tells Bergman during their session. “If one so much as touches me, I want to sink my teeth into his hand and bite it off.” She talks about a time when she did actually bite a man: “I suddenly pretended like I was going to kiss him and sank my teeth into his mustache. I bit it clear off!”

                        Fleming got another eye-catching part in the thriller “The Spiral Staircase” (1946), and she also appeared in the film noir classic “Out of the Past” (1947) as Meta Carson, a secretary involved in shady business. Fleming had an accomplished soprano singing voice, and so she branched out into musicals, playing opposite Bing Crosby in “A Connecticut Yankee in King Arthur’s Court” (1949), her first film in the Technicolor that came to define her image.

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                        Fleming was a hot commodity at this point, and she later thought that she didn’t choose her parts well enough. “I made the mistake of doing lesser films for good money,” she said. She appeared in some westerns and action movies, including several with Ronald Reagan, and she played Cleopatra in “Serpent of the Nile” (1953). Fleming usually had a naughty gleam in her eye in these pictures, and an air of confidence that saw her through. She betrayed Robert Ryan in the 3-D “Inferno” (1953), which added to her bad girl persona. There was always an air of sensuality about Fleming that comes across most clearly in the way she handles props, as if she needs to caress them.

                        Her finest hour on screen was in “Slightly Scarlet” (1956), a Technicolor noir directed by Allan Dwan in which Fleming was paired with another sultry redhead, Arlene Dahl, in a story where they got to play sisters. Dahl is the more hot-to-trot of the two sisters in that picture, but Fleming makes an impression as she stealthily walks around the shadowed interiors. The most memorable thing about Fleming on screen is the way she moves, the way she carries herself, as if she is loaded down with riches and so has to move somewhat slowly with them.

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                        In Budd Boetticher’s tense “The Killer Is Loose” (1956), Fleming is targeted by a criminal (Wendell Corey) who wants revenge against her policeman husband (Joseph Cotten), and she moves in that excellent movie like someone in a trap, like someone who knows they are being watched. Her own favorite role was as Jean Simmons’s stepsister in “Home Before Dark” (1957), which she felt was a good stretch for her. Fleming focused on a musical career at this point and played in Las Vegas, and she also recorded some songs. In 1960, Fleming said that she was “semi-retired,” having made some money in real estate investments, but she worked on television occasionally.

                        A religious person, her last appearance was at age 67 in a short called “Waiting for the Wind” (1990) opposite her old noir co-star Robert Mitchum, where she wore a cross around her neck and was as beautiful as ever. Fleming was married six times; the first four marriages ended in divorce, and she was widowed for the last two. Her name still conjures up an image of opulent redheaded beauty and restless lusciousness, all the more tempting for being ever-so-slightly withheld. 




                        Original: https://www.rogerebert.com/tributes/rhonda-fleming-1923-2020
                        By: Dan Callahan
                        Posted: October 17, 2020, 5:29 pm

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