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Come support our mission at a fundraising party being thrown by the Scrappers Film Group and Pentimenti Productions on Friday June 21 from 6 - 10pm at their shared space on 329 West 18th Street, Suite 607, Chicago, IL 60616.
$10 suggested donation at the door. RSVP or donate Nike Air Jordan Retro 13 414571-004 Men's Sizes US 7 ~ 17 / Brand New in Box.
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Still Hal Hartley’s finest hour, TRUST is heartbreaking and laugh-out-loud funny, often both at once. One can trace the film’s complex tone to a variety of sources: the influence of Robert Bresson (which can be felt in Hartley’s meticulous framing and the deadpan line-readings of his actors); the writer-director’s deep affinity for blue-collar Long Island (which reveals itself in his sensitive depiction of the characters and their dead-end milieu); and the witty, probing dialogue (an unlikely fusion of screwball comedy and Jean-Luc Godard), which condenses thoughtful examinations of social mores, interpersonal relationships, and spiritual longing into breathless one-liners. Yet the film’s magic is ultimately irreducible—the narrative proceeds with such sharp logic that the components of Hartley’s creative inspiration reveal themselves only after the movie ends. Adrienne Shelley, in her second collaboration with Hartley, plays a wayward teenager named Maria. At the beginning of TRUST, she tells her parents she’s pregnant and plans to drop out of school; the news comes as such a shock to her father that he instantly dies of a heart attack. That same morning, a gifted ne’er-do-well named Matthew (Martin Donovan) quits his job at a computer manufacturing plant, then gets into a fight with his emotionally abusive father when he tells him the news. Maria and Matthew meet that evening, after they’ve both been kicked out of their homes; they form a tentative bond over being scapegoats in their families. The rest of the narrative concerns the blossoming of their relationship, which sees both protagonists changing their natures in surprising ways. The misanthropic Matthew teaches Maria about the pleasures of introspection, while she inspires him to open up and trust others. Along the way, the two investigate the disappearance of an infant, debate whether Maria should have an abortion, and reflect on the nature of work. Tying all this together is Hartley’s sincere consideration of what it means to grow as an individual. The characters’ progress is beautiful to behold, and it speaks to the compelling mystery that Hartley roots out of the most banal environments. Preceded by Christopher Gamboni's 1985 film GOING OUT OF BUSINESS (15 min, 16mm). TRUST is showing in a new 35mm print commissioned by the Chicago Film Society. (1990, 106 min, 35mm) BS
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Music Box Theatre - Sunday, Noon
Where does one begin with PINOCCHIO, the greatest and most durable animated feature produced by the Walt Disney Company? There is the extraordinary creative decision that all movement should follow the example of the crooked, pre-automobile cobblestone streets of Collodi's Italy, with characters constantly pivoting and colliding at odd angles, continually twisting and re-jiggering the space between themselves and the camera. There is the remarkable casting of washed-up vaudevillian Cliff "Ukulele Ike" Edwards (who had lately been cutting pornographic party records with such blunt titles as "Take Out That Thing") as Jiminy Cricket, the puppet boy's literal Conscience, who is crucially both a moral authority and a naïf nearly as fallible as Pinocchio himself. ("Why doesn't Jiminy know how worried Geppetto will be?" asks Roger Ebert. His lovely and logical conclusion: "Maybe crickets don't understand human love.") There is the terrifying scale of Monstro the Whale, a rigorous abstraction to equal anything in FANTASIA and the all-around least cute creature in the Disney canon, abetted by innovative effects animation that masterfully suggests ocean spray. But unsurprisingly, it's the moral education that cuts deepest and lingers longest in PINOCCHIO. The naughty puppet's erect nostril is justly famous, but for me the jaunt to Pleasure Island has no parallel. (The only other sequence that can scare the bejesus out of children so thoroughly is the worship of the Golden Calf in DeMille's Technicolor TEN COMMANDMENTS remake.) The late critic Richard Schickel famously surveyed the specter of butt stuff in the studio's character animation and conjectured that Disney had some sort of rectal fixation, but the kink is more diffuse and mysterious in PINOCCHIO. The boys are initiated by a nameless, burly pederast with an alcoholic's maroon nose, spirited away to a run-down amusement park of pre-pubescent delights. Through an alchemy that remains unexplained, the boys slowly, then suddenly, adopt the ears and tails of donkeys, braying a donkey's HEE-haaaaaw into the thick night air. The dirty old man herds the donkeyboys into cages and earmarks them for salt mine slavery and circus chicanery, as if donkeys were ever so rare as to justify an industrial-scale bootlegging operation. Watching this sequence again as an adult, you get the unmistakable sense that the evil coachmaster doesn't so much need the donkeys or the money they'll fetch on the black market; he just gets off on the sense of irrevocable violation. When Pinocchio's ne'er-do-well buddy Lampwick tugs at his friend's shoulders and discovers only hooves, his horror is ours—the impotence that knows no expression, the stolen manhood that will never be restored. I don't know if I learned the right lessons from PINOCCHIO, but I tell you this: I've never so much as picked up a cigar. Nota bene: the Disney vault giveth and taketh away. PINOCCHIO played on nearly 2,000 screens when it was restored in 1992, but 35mm screenings today are few and far between. This edition is especially noteworthy as among the last Disney restorations that stopped short of buffing out film grain and eliminating cel shadows, the unforgivable indication that these corporate evergreens were once assembled by human hands. PINOCCHIO simply looks stupendous in 35mm—none of the video editions come close. (1940, 88 min, 35mm) KAW
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Nike Zoom Kobe VI 6 FTB Fade to Black Mamba River Rock Grey SZ 9.5 (869457-007) (University of Chicago) – Friday, 7pm and Sunday, 1:30pm
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The Nike Air Max 90 Classic "2005 Release" - 313096 101 hosts the Cinema/Chicago screening of Joshua Magor's 2018 South African documentary WE ARE THANKFUL [Siyabonga] (94 min, Video Projection) on Wednesday at 6:30pm. Free admission.
AIR JORDAN 1 Air Jordan 1 fly-knit from japan (3316 (2579 N. Milwaukee Ave.) hosts a screening of the prologue episode of the local web series Conspiracy Theorist (approx. 18 min) on Monday at 7:30pm. Followed by a discussion; and presents an outdoor screening of Carl Theodor Dreyer's 1932 German/French film VAMPYR (73 min, Digital Projection) on Wednesday at 8:30pm, with live accompaniment by Kassi Cork and Daniel Evans. Free admission.
The NIKE DUNK HIGH 309432 002 ***REFLECTIVE BLACK CROC*** (at the Jay Pritzker Pavilion) begins this Tuesday at 6:30pm with Julie Taymor's 2002 film FRIDA (123 min). Free admission.
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Michael Robinson’s 2015 video MAD LADDERS (10 min) is on view in the group show Shall we go, you and I while we can at the Carrie Secrist Gallery (835 W. Washington Blvd.) though June 15.
Local videomaker, artist, writer, activist, and educator Gregg Bordowitz is featured in a career retrospective exhibition, I Wanna Be Well, at the Nike Lebron 15 Red Diamond Turf A09144-600 lot through July 14.
Also on view at the Art Institute of Chicago: Martine Syms' SHE MAD: LAUGHING GAS (2018, 7 min, four-channel digital video installation with sound, wall painting, laser-cut acrylic, artist’s clothes).
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MANAGING EDITOR // Patrick Friel
ASSOCIATE EDITORS // Ben Sachs, Kathleen Sachs, Kyle A. Westphal
CONTRIBUTORS // Kyle Cubr, Alexandra Ensign, Marilyn Ferdinand, Jim Gabriel, Michael Metzger, Michael G. Smith