Previewing the 21st Chicago European Union Film Festival

Over the past five years, the Gene Siskel Film Center’s European Union Film Festival has programmed the likes of Ben Rivers and Ben Russell’s A Spell to Ward Off the Darkness, Bruno Dumont’s Li’l Quinquin, Ramon Zürcher’s The Strange Little Cat, Terrence Davis’ Sunset Song, and Oliver Assayas’ Personal Shopper. It’s an indispensable film education, with the Siskel Center’s programming team ambitiously taking on the kind of films that rarely screen on more than a half-dozen screens in the city (if at all).

Less commercially inclined than their Chicago International Film Festival counterpart, I frequently considered the Chicago European Union Film Festival to be the city’s true cinephile attraction; the kind of festival that remedies CIFF’s glaring omissions and bloated filler selections. With such inclusions as Arnaud Desplechin’s Ismael’s Ghostd, Bruno Dumont’s Jeannette: The Childhood of Joan of Arc, Kornel Mundruczo’s Jupiter’s Moon, and Armando Iannucci’s The Death of Stalin, this year’s European Union Film Festival offers Chicago’s cinephiles with an all too rare opportunity to catch up with some of Europe’s most dynamic films, all within the comforts of the Siskel Center’s renovated theaters. Given how barren the winter movie months can become, the European Union Film Festival emerges as a cinephile’s oasis.

For a complete schedule, screening times, and ticket informationrefer to the Gene Siskel Film Center’s website here.

The Best Films of 2017

With 2017, I spent more time confused than not. It’s been a sufficiently un-astonishing year that often left my mind in a state of perpetual limbo, forced to reckon with the static of a butterscotch goblin on a daily basis every time I turned on the television. Turn off that antennae and I’m still confronted with the kind of shoddy humanity that makes me wonder if the planet’s growth spurt toward mature, complex, and rational thinking will ever come to pass.

For what it’s worth, it’s made the people that I value all the more important to me. People capable of compassion, thoughtfulness, and empathy. If those traits were a deficiency of mine, they’re something that I actively work toward. I cannot resort to close-minded isolationism and intolerance. And it’s made the films of 2017, those that value warmth and tolerance as not vanity but virtue, all the more important to me. As 2017 comes to a close, it’s the films highlighted here that spoke to me most directly in this year of demolished sentiment - films that itch for solicitude, yearn for humanity, and resemble something unfashionably compassionate . 

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