As usual, this is the time of year for local film festivals to shine. Long after the luster of Cannes, Venice, Telluride, and Toronto has faded, smaller-scale efforts across the United States and beyond begin their own deluge. However, “smaller” isn’t exactly the right descriptor. As far as the Chicago International Film Festival is concerned, it’s an event that has only grown larger in the scope of films it programs. Every year, the list becomes more varied and interesting. The selections include high-profile works from famed auteurs, as well as hidden gems that are given opportunities for discovery. As a native of the city, it’s one of the great joys that comes around every October. Here are some highlights from this year’s festival worth noting.
CANNES PLAYBACK
Cannes may not be the first major film festival each year, but there’s no doubt it’s considered one of the most prestigious. It’s the first stop many films make before moving on to even larger platforms later in the year, and it’s generally known as a cinephile’s paradise. The Chicago festival has a long history of playing many of these movies in its lineup, offering a great way for many to catch up on these anticipated titles. Rada Jude returned with yet another film: his strange, loose adaptation of “The Diary of a Chambermaid.” It’s a film that can feel frustratingly fractured until its final moments, but his sensibilities as a filmmaker always find an intriguing avenue to explore. “The Man I Love” got respectable notices at Cannes, but it’s yet another fine effort from Ira Sachs that explores prickly personalities in an emotionally tragic space. It’s a fascinating look at the AIDS crisis, with a protagonist who doesn’t always elicit much sympathy. But that’s precisely what makes mining this complex character study compelling, especially with great performances from the entire ensemble. Sachs never gives into easy answers with his characters, and this is yet another provocative showcase from him. Another stunning work is Andrey Zvyagintsev’s “Minotaur,” an exceptional film that blends elements of a Hitchcockian thriller with a brutal commentary about the twisted corruption at play in a culture that targets any opposition. It is an alluring tale of deceit that offers a provocative look at a controlling Russian state and marks itself as one of the year’s best.
It’s also wonderful to get exposure to films that show parts of the world many audiences, unfortunately, aren’t familiar with in international cinema. Nepal never seems to be one of the Asian countries most talked about, but that should change when seeing “Elephants in the Fog,” an engrossing mystery that centers on a trans community fighting back against the omnipresent threat of violence. It’s a moody, atmospheric story, bolstered by its unique setting and Pushpa Thing Lama’s endearing performance. It’s the country’s official selection for the Best International Feature Oscar, and should be worthy of consideration. The same goes for Rwanda’s history-making inaugural submission “Ben’Imana,” a harrowing meditation on the aftermath of the 1994 genocide. The film casts a strong light on this group of individuals struggling with the trauma they have endured, and it makes a powerful statement. African culture is also a main focus of “Congo Boy,” a slightly more lighthearted film about a young man with a passion for a music career. It still shows the violence plaguing the area, but its focus on a charming tale of determination makes it engaging as well.
If one film deserves special recognition, it is “All of a Sudden.” Ryusuke Hamaguchi is a master at crafting intimate character studies that speak to the complicated human condition and the relationships we build with one another. Much like the masterpiece “Drive My Car,” this is another wonderfully textured study of characters, and all the tragedy and uplift that can arise when faced with life’s obstacles. His simple direction is carefully calculated to ease the viewer into a world of emotional catharsis. The pair of performances from Virginie Efira and Tao Okamoto are stunning, and the ending will leave many as an emotional wreck and perhaps thankful that the darkness of the movie theater will hide those profuse tears. It’s a fantastic work of art that cements the film as one of the year’s best cinematic achievements.
PERFORMANCES TO CELEBRATE
There has also, of course, been plenty of performances worthy of recognition as well. Some callouts are obvious. Julianne Moore is indeed so engrossing in “The Debut” and will more than likely continue her elevated status through the awards season. The same goes for Best Actor frontrunners John Malkovich and Andrew Scott in “Wild Horse Nine” and “Elsinore,” respectively. Jeon Do-yeon continues to showcase her magnificent talent with “Possible Love,” which has been revered ever since the film’s Venice debut. Much has already been said about these portrayals, but there are still many more featured in this lineup who deserve to be called out.
“Club Kid” is another celebrated work that has reaped praise since it played at Cannes, but for all the appreciation of Firstman’s talents as a writer and director, his performance may be the film’s secret weapon. It successfully taps into a perception many have of him, plugged into the party scene without much substance behind his actions, and showcases an endearing and compelling turn. It’s yet another aspect of an already acclaimed film that’s worthy of being singled out.
Sometimes, certain performances rise above the quality of the films they are featured in. Sometimes the work itself isn’t especially lacking, but it’s propped up by the contributions of its cast. “A Long Winter” is a good example: much of its storytelling can leave one at arm’s length, but Fred Hechinger’s tender performance is so full of aching longing that it leaves one intrigued to discover more. Without it, the film would be even less successful than it already struggles to be. The performances are also a huge boost to films like “The Life and Deaths of Wilson Shedd” and “Josephine.” It’s so great to see reliable character actor Scott McNairy get a substantial leading role, playing a difficult character with an intriguing aura to investigate. Discoveries are also wonderful, which is why Mason Reeves is such a treasure to behold in the latter film, taking on such gravity and complexity in a role meant for a child and demonstrating her own unique talent. “The Liberation” is another film that may occasionally struggle to be the most enthralling work of art, but it’s hard not to acknowledge the impressive commitment Carrie Coon brings to her role here.
Ensembles are also a good place to showcase a wide range of great performers, and two examples at this year’s fest demonstrated this asset. “I See Buildings Fall Like Lightning” follows a group of young people navigating complicated adulthood, and the film is buoyed by its fantastic cast. Particular highlights go to Joe Cole and Jay Lycurgo, each inhabiting a tragic sadness and an engrossing charm that gives their characters full dimension. “La Gradiva” is another film about the troubles of youth, and the standouts here are Colas Quingard and Suzanne Gerin. Both are alluring and heartbreaking in their portrayals, with the former being particularly noteworthy. Quingard delivers a fiery energy that papers over significant trauma, which is devastating to watch him navigate. It’s an exceptional performance that deserves even more laurels for an incredible turn.
NOTABLE CRAFTSMANSHIP
While many will admire a film’s performances or storytelling, other aspects of filmmaking are impressive as well. Many of the films that played at this year’s festival had exquisite cinematography. It’s amusing that both features starring Sandra Hüller had stunning black-and-white cinematography, though it’s hard not to give the slight upper hand to “Fatherland” and the striking work of Łukasz Żal. Jonathan Bloom’s work on “Clarissa” gave it such a warm texture that the imagery felt impactful. It’s also worth pointing out that animated films deserve consideration for their craft, even if some elements lack a traditional physical component. Nonetheless, the futuristic noir setting Brad Bird brings to life in “Ray Gunn” is a stunning creation that gives a singular identity to what could otherwise be a fairly predictable narrative. It’s a distinct presentation and absolutely wonderful to behold.
Music was another noteworthy aspect here. It’s interesting because much international cinema doesn’t have particularly showy scores, if it has any at all. It’s no surprise then that most of the memorable film scores this year were attributed to American movies. Still, it’s an aspect worth praising whenever it’s used. “Behemoth!” is built on the implementation and deconstruction of film composing, and the artists who contributed deliver a playful, impressive soundscape. Similarly, while “The Only Living Pickpocket in New York” has gotten much more attention for John Turturro’s leading performance, the jazzy score from Gary Lionelli also gives the film a real identity, literally underscoring the entertaining romp that is present within a character study that finds mischievous joy in this excursion through criminality.
QUEER PERSPECTIVES
On a personal note, one of the first things that interests me when combing through the selections at any film festival is what they have on offer in terms of LGBTQ narratives. It will always be an area I champion, and getting the chance to see these voices showcased is incredibly vital. Some of these interesting titles have already been mentioned as festival highlights, such as “The Man I Love” and “Elephants in the Fog.” Another film is “Tangles,” a uniquely stylized retelling of a real-life family struck by a dementia diagnosis. The protagonist’s sexuality plays into the unfolding drama, detailing the multiple conflicts that arise during such a daunting time. Speaking of movies based around family trauma, “Trash Mountain” is a small dramedy that’s inspired by comedian Caleb Hearon’s backstory regarding his deceased father. Its scale is appropriately minimal, and occasionally comes across as slight, but the tone is alluring, and there are plenty of warm performances to admire from Hearon, Zooey Deschanel, Jaboukie Young-White and Jacki Weaver.
An intriguing subset that shows up in many queer films is horror. It makes sense to take an ostracised identity and translate that perspective to one of dread and anxiety. A handful of films take on that task here. One was “No Rest for the Wicked,” set in the 19th century on an isolated Nordic island, where a young man falls in love with a stranded Danish whaler. Eventually the narrative transforms into a vampiric tale, with the two feasting off each other’s longing. It’s an atmospheric, moody piece that excels much more at establishing tone than intriguing characters. A slightly better effort is “Corpus,” a small-scale thriller set in a nearly empty mansion where a sinister party is underway. It actually takes a while for the film to build up momentum, as the chaotic personal entanglements between a photographer and his male model friend prove tedious. But the third act is impressive, with more vibrant imagery and body-horror mechanics that make it a much more enticing experience. It’s not perfect, but there’s enough style sprinkled throughout that makes the film an intriguing watch.
The Chicago International Film Festival truly is one of the best events that comes around every year. It may not often be the place for the biggest or flashiest premieres, but it has consistently remained dedicated to a very important thesis. Its purpose has always been to celebrate a wide range of cinema for the masses to enjoy. For that, I will always be grateful for its existence, as well as the commitment to offer the chance to see so many great films. If this year is any indication, the selections will only become even more impressive in the years to come. I can’t wait to see what the future holds.
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.
