People always take note of the major film festivals that occur throughout the year. Destinations like Cannes, Venice, and Toronto get significant attention on a global platform. The United States’ specific locations, such as Sundance, Telluride, and New York, also get their fair share of print for all the splashy premieres and notable programming. After that parade comes a slew of more localized festivals that pop up in different cities, giving eager cinephiles in a whole new area an opportunity to participate in this glorious activity. The Chicago International Film Festival, now in its 61st year, is one of many festivals held during this period. But it must be said: in all my years attending this wonderful event, this has been one of the most impressive lineups ever unveiled. The assortment is not only varied but also offers a wide range of cinematic storytelling that can leave an impact. At times, there were almost too many good options to choose from, as you’d be fearful of missing out on a great gem because of an obligation to see another terrific film. It’s a nice problem to have, and a signal of the strength of this festival. Here’s a brief exposure of my experience at this magnificent festival.
CANNES CATCH-UP
Over the years, the importance of the Cannes Film Festival has only grown, especially for many international films that find themselves in one awards race or another. The anticipation starts every May and only builds as the season progresses. Many of those titles played at the Chicago fest, and this year was no exception. Fortunately, almost all of the major Cannes prize winners were featured in this lineup. The Palme d’Or winner “It Was Just an Accident,” Grand Prix recipient “Sentimental Value,” and co-winners of the Jury Prize, “Sirat” and “Sound of Falling,” were all shown here, and all three proved to be fascinating pieces of storytelling that well-earned their acclaim from earlier this year. “The Secret Agent,” which took home honors for Best Director and Best Actor from the Cannes jury, also played here and received another warm welcome. Outside the prize winners were other notable titles, including the dazzling animated feature “Arco” and Kelly Reichardt’s latest work, “The Mastermind.” The latter is yet another engaging piece from a gifted storyteller, while the former is an impressive display of engrossing animation that is a joy to witness.
It’s also interesting to note that while “Sirat” didn’t end up with the top prize at that earlier festival, it was more nicely received at Chicago, as the festival’s jury awarded it the Golden Hugo. Its Jury Prize co-winner, “Sound of Falling,” took home multiple honors, including Best Director and a special recognition for Best Sound. Wagner Moura continues his strong notices by adding yet another festival Best Actor prize to his shelf. The word about that film and his performance has only intensified as more people have had the opportunity to see it. It’s becoming more likely that the film’s achievements will be recognized in more major categories in the future, which would be well-deserved for such a provocative work of art.
HOMETOWN SPOTLIGHT
As is always the case, a local film festival is also a time to highlight filmmakers from the surrounding area, helping to platform talented individuals who work and live in the region. There are several films featured within the “City & State” section, and they are always intriguing. One title was “A Brief History of Chasing Storms,” a documentary that visited several locations where famous tornado events occurred. While the perspective here isn’t solely on the state of Illinois, a vast range of Midwest regions is covered, featuring interviews with residents, storm chasers, and a lovely woman who runs the “Twister” museum in Wakita, Oklahoma, which seems like a must-visit destination. Captured on film stock, the aesthetics have a dated quality, like an educational film shown in an elementary school, but it’s a perfect way to blend the archival footage with the modern. It’s a fascinating piece that is sure to pique the interest of anyone fascinated by one of nature’s most awesome and terrifying elements.
“Anything That Moves” has a stronger connection to the location, as it is actually filmed and set in Chicago. It’s a wild, weird tale of sex workers who become entrapped in a serial killer plot that concerns corrupt cops and angry mobs. This narrative is not playing by any conventional norms, but that works to the film’s esoteric advantage. Also shot on film, the 1970s grindhouse vibe is striking in every frame, capturing the meager yet impactful moments of violence and characterizations that feel right out of those films without becoming cheap pandering. The good folks at Vinegar Syndrome are handling its distribution, and it’s no wonder that a company that values strange and provocative cinema would be interested in this film. It’s a vibrant, colorful display, often odd and befuddling, but continuously engrossing because of the filmmaking. It’s an acquired taste, but one will find something of interest to dissect.
INTERNATIONAL FEATURE ROUND-UP
For my fellow awards season obsessives, one of the many undertakings we undertake is seeing major titles that will have a significant presence. For those interested in international cinema, the submissions for the Best International Film Oscar are particularly intriguing. One of the main objectives I have every year with this festival is to see as many of these entries that are part of this selection as possible. Yet again, there was an embarrassment of choices to discover. Many of the Cannes winners had been chosen by various countries to represent them, but they are by no means the only submissions. Poland’s “Franz“ yet again finds Agnieszka Holland representing the nation, and her unusual biopic of Franz Kafka is a bold piece that doesn’t always come together as a cohesive whole but is filled with compelling choices that make this showcase all the more interesting. Iraq’s “The President’s Cake“ is a simple yet effective observation of a child’s odyssey, both captivating in its drama and revealing of the nature of oppressive regimes.
Tamara Kotevska is back representing North Macedonia with another documentary, “The Tale of Sylian.“ This one has even more political relevance, as the endearing relationship between a farmer and an injured stork he finds caring for plays against a backdrop of unrest in the country, driven by financial hardships that fuel a rebellion against an ineffective government. It’s a story of simple people trying to survive national turmoil, and it’s effective in its showcase. It was also a thrill to discover Lav Diaz’s latest, “Magellan,“ here, and it’s yet another meditative statement that displays his ability to create richly detailed frames within a dreamlike atmosphere. Like much of his work, the momentum can try one’s patience, but this examination of the encroaching horrors of colonialism always had an element that kept one captivated. Unfortunately, the Philippines has yet to receive an Oscar nomination in the category, but having a film made by a notable auteur may have given the country its best odds yet.
PALESTINIAN PRIDE
Over the years, the suffering endured by the Palestinians has always captured attention. Still, the continuing assault and famine, intensified over the past two years, have magnified their plight. As such, the cinema produced in and representing this region has received greater critical acclaim, in an effort to underscore the atrocities being committed. “The Voice of Hind Rajab” won the second-place prize at the Venice Film Festival and received the same designation from the Chicago jury. It’s a fitting recognition given how powerfully rendered the film’s narrative is, and how it absolutely shatters your emotional state as you leave. “Put Your Soul on Your Hand and Walk” offers another perspective on the modern state of the country, with simple interviews conducted with a resident who must persevere through the immense horror. Fatima, the subject, is beaming with engaging energy that tries to mask the intolerable pain, a feat made even more horrendous with the knowledge that she would be killed shortly before the film’s premiere. It’s a straightforward exercise but profound in the information it reveals. “Palestine 36” is a more ambitious narrative that goes back in time to trace the formation of Israel and the start of the conflict that would be used to disenfranchise and persecute many Palestinians. Its filmmaking is more traditional, and its storytelling broader, but the history it unpacks is still riveting, and another example of the deep bench of storytellers necessary to champion in such a dark moment for the nation.
FAMILY AFFAIRS
Quite a number of films in this slate dealt with the subject of family. It is common for many stories to focus on this dynamic, often filled with trauma but also a solid support system for individuals to communicate with and explore a layered dynamic. “The Love That Remains” is a textured character study that examines the mundanity of these stories while showcasing the rippling effect of powerful emotions. The same can be said of “Young Mothers,” another exceptional entry in the Dardennes’ filmography that delivers a beautiful and earnest depiction of those entering early parenthood. Their aesthetics are never flashy; instead, they analyze relatable moments that emphasize the grand emotion that binds these characters. It’s an exceptional work that demonstrates their ability to craft the most engrossing character studies. “My Father’s Shadow” is another traveling odyssey involving children, this one involving a father and his two sons spending a tumultuous day in Nigeria during a contested presidential election. It not only showcases the political unrest but also the bonds forged by this small familial unit, as well as the elation and tragedy that arise from such relationships. Of course, we can’t forget about the found families that are often created in queer spaces, and “The Mysterious Gaze of the Flamingo” finds a collection of trans women fighting against both a mysterious new illness afflicting them and a bigoted entourage that means to intimidate and control them. Not all of its more fantastical choices work, but there is a mesmerizing story here that is funny, sad, and enlightening all at once.
BEST PERFORMANCES AND CRAFTS
For as much as one can admire films for their overall success, there are plenty of individual elements that are worthy of recognition. These juries will often single out performances or craftspeople for recognition of their work, and there was plenty to celebrate here as well. It’s hard to argue with two of the best performances of the year belonging to Jessie Buckley in “Hamnet” and Rose Byrne in “If I Had Legs I’d Kick You.” Two daring portraits of motherhood approach the subject from entirely different perspectives. Yet, what connects both of them is a searing, complex emotional landscape that doesn’t pigeonhole their feelings into a single corner. There’s rich text from both of them, making them incredibly engrossing figures. “Jay Kelly” might be the more high-profile movie featuring Laura Dern this year. Still, her work in “Is This Thing On?” is so much more layered and fulfilling, and a reminder of her ability to inhabit women with an intriguing core identity that can be difficult but always fascinating to uncover. Christian Petzold’s current muse, Paula Beer, delivers another alluring turn in his latest, “Mirrors No. 3,” while his previous collaborator is by far the most enticing performer in “Hedda” in a way that commands the screen. One of the year’s best ensembles belongs to “Left-Handed Girl,” another compelling family drama that features wonderful performances from its entire cast. A particular mention is paid to Shih-Yuan Ma, inhabiting the elder sibling role that brings so much expressiveness and passion with every glance.
Among the crafts on display, it’s difficult to surpass the incredible imagery that is conjured during the entire runtime of “Train Dreams.” Its gorgeous vistas are bathed in natural light, but there are stylish sequences that emphasize a more daring visual spectacle, leaving an enormous impression. Speaking of cinematography, one would not expect to find striking visuals in a documentary, but Ben Proudfoot’s “The Eyes of Ghana” offers a marvelously textured world that shines through with vibrant colors and a rich palette, making this heartwarming story even more inviting. One of the more impressive feats of editing was shown in Thailand’s Oscar entry “A Useful Ghost,” which features some of the best comedic timing that’s been assembled in any film this year. The deadpan humor lands thanks to the deliberate pace, which finds the right moments to deliver its sight gags. Both of these crafts are also highlighted in Bi Gan’s “Resurrection.” A daunting work of cinema that can be overwhelming to behold, but there’s no denying the impressive craftsmanship within every frame. The beautiful colors, the impressive period designs, the captivating aural landscape; it all comes together to create an impactful work of art that is sure to confound and enthrall every audience that is willing to give themselves over to it.
Over the decade-plus run that I’ve been attending the Chicago International Film Festival, this has by far been one of the packed slates I have had the opportunity to experience. The festival has always been a wonderful host to great cinema, but this year truly felt like a bold statement, making it an important highlight of the fall festival season. The city has continued its mission to provide impressive films for those who love the craft. This year has been one of their finest collections to date, and not only because we got the Criterion Closet van to visit. I can only imagine what the future holds, and if it’s half as impressive as this year, then this festival can only continue its remarkable trajectory.
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.
