I generally avoided the Chicago Riverwalk even before the pandemic, but Footnotes gave me a genuinely great reason to spend a night gazing up at Merch Mart.
Minxxx shows brightly with the kinky creativity, intention, and DIY spirit so unique to the Windy City’s gay underground.
We couldn’t have made this without you: the proud, opinionated, ballot-stuffing people of Chicago. Thank you for nominating and voting for your favorites. We get to celebrate what we love about living here. Of course there are also folks who are left out of the voting process, a gap that Reader staff and freelancers fill with impassioned essays.
[The program] engages what it means to be a Black body . . . in ways both nimbly tactile and equivocally abstruse as only art can be, specifically vis-à-vis experimental film and video.
The effect is full disorientation, which feels refreshingly campy now and then, but bewilderingly out of touch the rest of the time.
Cyrano is an uneven film that at points reaches some of the bold bravado its titular character expresses in his wordplay, but as often doesn’t really linger in the memory.
It’s 2035 and the government has levied a tax on the objects you see in your dreams, which you store and upload off memory sticks. Nattily tweed-coated auditor James Preble (Kentucker Audley) doesn’t like it any more than you would.
Ellis has made it very clear that the emotional core of the film is the suffering of marginalized, displaced, and slaughtered people. Why then are we spending the bulk of the run time supposedly rooting for those who benefit from that slaughter?
With not only Melvin’s Jamaican family, but also the inclusion of characters of African descent, the film exhibits the multiculturalism of Black London that isn’t often shown onscreen.
It’s an unoriginal story told with predictable dialogue, but it’s not as bad as nails on a blackboard.
The accompanying footage—of student life, of the protests, of that violence—is made to look artsy rather than realistic. It’s rather distracting and almost makes the occurrences seem fictitious.
It’s hard to find the romance in this love story. There’s no distracting from Lopez and Wilson’s lack of chemistry, and the fact that their characters have nothing in common save for this: they’re lonely.
The composer’s film deviates from the standard sci-fi film adaptation by dropping excessive special effects currently oversaturating the genre. Instead, Jóhansson redesigns the classic sci-fi story as a prose poem, delivered as a transmission to us: the first humans.
Basholli’s film is a gorgeous and tightly crafted work of realism, capturing the struggles and hopes of the community through lingering camerawork.
Chicagoan Ramona Slick has curated a monthly meeting place for Chicago’s film nerds and queer community. In December, the erotic performer and queer burlesque dancer debuted a new event series, Rated Q, at the Music Box Theatre. Each event features a brief drag show and screening of a queer film classic. Audience members wear their […]