Highlights From The 2024 Chicago Film Festival

Festival season is often a wonderful, buzzy time of year when hotly anticipated titles are finally being seen by the public. The world awaits with an eager appetite, wondering if high-profile films, often awards season contenders, will be met with adulation or total disdain, thus giving a glimpse into what the rest of the year has in store. For many, though, these flashy premieres can only be appreciated from afar. Not everyone can muster a trip to Venice or Toronto. Even New York City can be too much of a venture. However, the good news is that regional film festivals continue to show their strength during this time. They may not always get the first unveiling, but they are fertile ground to experience great cinema all the same. This year, the Chicago International Film Festival celebrated its 60th anniversary and had a range of unique films playing within the lineup. This is a rundown of just a few titles showcased and many of the best elements from them that are worthy of highlighting.

INTERNATIONAL FEATURE CATCH-UPEver since I first started attending the festival, I knew immediately that it was a great resource to see many of the submissions for the International Feature Oscar. Usually, there is a healthy mix of films that got their first bow on the European continent, and it’s wonderful that more American audiences are granted the opportunity to see such fare. Having already seen a few of these at Cannes, it was still a joy to revisit many that had made an impact since I first saw them back in May. It was heartening to see films like “Flow,” “The Girl with the Needle,” and “Three Kilometers to the End of the World” get in front of more people and be discovered by new audiences. I also cherished the opportunity to catch many Venice premieres that were a part of this slate, such as “Cloud,” “Vermiglio,” and “I’m Still Here.” All of them had an enchanting quality, were finely detailed through their craft, and were nice showcases for performances. The quiet atmosphere of “Vermiglio” particularly stood out, and director Maura Delpero created an engaging landscape. It’s no wonder that the film won the festival’s top jury prize, a decision that cannot be argued isn’t merited.

LOCAL SPOTLIGHTSOne of my favorite programs of the festival is “City & State,” which is a section that aims to highlight productions that take place in Chicago or the state of Illinois. It’s not only a place to find some under-the-radar gems but also supports the filmmaking community that exists closer to home. One of the narrative features in this slate is a film called “Okie,” in which a writer returns to his hometown after his father’s death and reconnects with old friends. It’s a charming picture that perfectly captures the distance one feels when making the pilgrimage back to one’s roots and the tension between those who stayed behind to still maintain a fulfilling life. It sometimes has difficulty nailing down a consistent tone, but the likable performances from Scott Michael Foster and Kate Cobb (also the film’s director) make it an endearing effort. Bonus points are awarded for perfectly capturing the sincere sensation of what it’s like being in downstate Illinois.

It’s always a personal interest when these local stories can also serve as an exhibition for queer lenses, and there were two documentaries that fulfilled this prompt. “Time Passages” was a personal journey of a filmmaker dealing with his mother’s Alzheimer’s diagnosis. It’s a touching story for sure, especially for anyone who has gone through a similar experience, but the storytelling does not venture far beyond the expected. There are some exceptions with its format, but a mostly straightforward execution. “Desire Lines,” on the other hand, is a much bolder vision as it explores the history of trans men within queer culture with a mix of traditional interviews and a narrative throughline to bridge the events. The device doesn’t always work, but the perspectives given are so illuminating in how these identities are perceived and discussed. It’s a fascinating documentary that plays around with convention to create an alluring piece of work.

BEST PERFORMANCESThere were some truly outstanding performances on display that deserve the spotlight of recognition. Some of these are fairly obvious accolades that no less deserve to be mentioned. Adrien Brody has already garnered euphoric praise for his portrayal in “The Brutalist,” and he does deliver a grandiose achievement. It’s a performance built on top of unfiltered ego and tragic circumstances, which makes him compelling in every frame. A similar, although entirely different, bombast is found in Marianne Jean-Baptiste in “Hard Truths” as she inhabits a character that despises the world so much she lashes out with venom. But there is more tragedy to her life that makes her performance become grounded and dynamic in fascinating ways, making it a brilliant turn. These two could not be further from the pair of Tilda Swinton and Julianne Moore in “The Room Next Door,” which finds a more meditative examination at play, but one still filled to the brim with deep emotion from both. Between the two, I think Moore actually delivers the more challenging and exciting work, having to navigate impending grief that exists on the peripheries until one is thrust into its claws. Still, both women give tender performances that are heartbreaking to witness.

Speaking of heartbreak, Fernanda Torres’s performance in Brazil’s Oscar entry “I’m Still Here” is absolutely stellar. The film itself is already a harrowing experience, but Torres makes every moment one that is wholly engrossing. She holds the frame with such intensity, all while displaying just a flash in her eyes to convey a sea of emotion. It’s commanding work that should hopefully get proper notice. The same can be said of Raúl Briones in “La Cocina,” a fiery turn that should be far more celebrated than it is now. There is a captivating presence to every scene Briones is in, often hyperbolic in his aggressive personality but also so fragile when his vulnerabilities start to show. It’s a big performance that never loses the humanity through the histrionics. This year, the Best Actor race has been commented upon for being a little thin, but here is a worthy participant who should have much more applause for delivering a magnetic performance.

BEST CRAFTSWhile above-the-line players are usually the ones receiving the most praise at these festivals, plenty of craftspeople also deserve that recognition. Their work is similarly on full display, and just because there is not always a jury prize to hand out in their honor does not mean such contributions should be ignored. It’s often easy to recognize the work of the cinematographers, and while there have been many to have gotten high praise already, there are plenty that should also be getting acknowledged. For “All We Imagine as Light,” Ranabir Das manages to bring a great sense of intimacy to this character study and textures the imagery with an inviting warmth that is immediately arresting. There’s a more stylish presentation to “The Girl with the Needle,” drenched in harsh contrasts that make its black-and-white imagery evocative of dark fantasy from the likes of “The Night of the Hunter.” It is such disturbing subject matter that is brought to vivid life by Michal Dymek, only adding to his impressive resume after the stunning work he did on “EO.”

Production design can be discussed in tandem with cinematography, as these physical surroundings must be just as impressive as the means by which they are captured. “Maria” has a plethora of exquisite locations that not only speak to the period but also to the glamor that Callas lived by. Her living quarters are aged and worn but also beautiful in their detail. The flamboyant mirror and spacious rooms speak to her soul, and Guy Hendrix Dyas perfectly realizes this. There is also much personality in Jette Lehmann’s designs for Joshua Oppenheimer’s “The End.” The film itself may have its own issues with pacing and narrative momentum, but the set design is absolutely flawless. The creation of this artificial environment is both vivid and reserved, a reminder of the manufactured sense of joy that this family attempts to preserve but can’t sustain and a wonder to behold.

BEST OF THE FESTThere was a lot of great work to be found in the almost two dozen films I saw at the festival. It’s hard to argue that the best was still “All We Imagine as Light,” but having raved about that for months already, I would highlight two other films that were truly special experiences. The first is “Memoir of a Snail,” the latest stop-motion gem from Adam Elliot, where he once again is able to articulate such a diverse emotional landscape of unrelenting sadness with just enough hope to shine light into the darkest of corners. It’s a story that weaves through disappointment and elation, with a biting sense of humor that Elliot is finely attuned to providing. In a time when animation is constantly being denigrated as a simplified medium, it’s refreshing to see further proof of the complex narratives it can showcase.

However, out of everything I did see, there was one film that unquestionably rose to the top: Mati Diop’s masterful “Dahomey.” It’s truly a marvel to see how a barely an hour-long film packs in so much riveting commentary. One is immediately taken by the premise, tracking these stolen artifacts as they make their way back to the home country of Benin. That alone would be a powerful expose, but what follows is a complex discussion about the value placed on such objects and whether this gesture should be accepted in good faith. To hear the young citizens voice their protest against lavishing importance on items from a past history that mostly serves to aid the perception of foreign standing is an unexpected conversation that gives the themes a rich layer of intrigue. With the camera designing striking compositions, the visual aesthetics equally match the engaging dialogue that’s unfolding, underscored by a terrific soundtrack as well. The film is the submission from Senegal for the Oscar this year, and I would love for it to be added to the growing list of films to receive nominations for both International and Documentary Feature.

As another year of the festival comes to a close, I once again cherish the great opportunity that is afforded to the people of Chicago. While it may not have the same level of prestige as the other fall events, it does not lack intriguing cinema to devour. The mixture of well-known entries and hidden works just waiting to be discovered is always a treat, one of many aspects that make this one of the most exciting times in the city. This festival will always be a special time, and here’s to another grand sixty years of more incredible and impactful movies.

Did you attend the Chicago Film Festival this year? What were some of your favorite films that screened there? If not, which films are you looking forward to seeing? Please let us know in the comments section below or on our Twitter account.