Last year I was invited to join the rank and file of the Chicago Film Critics Association. As a Chicago-based quote unquote film critic, it is literally the highest distinction of its kind. I mean that mostly as a compliment. Or at least I try to think of it as such; I won’t deny that I get a certain measure of pride in seeing my name along a litany of other critics that I admire like Angelica Jade Bastien, Adam Kempenaar, Scott Tobias, and Ignatiy Vishnevetsky. It’s my self-effacing nature to wonder how I figure within the group. But for now, I’ll enjoy the perks and privileges that I frankly never imagined would have been afforded to me.
I’ve covered the Chicago Critics Film Festival as an audience member, member of the press, and now, in its sixth year, as a fellow critic. Over the past five years, the festival has screened the likes of James Ponsoldt’s The Spectacular Now and The End of the Tour, Gillian Robespierre’s Obvious Child, Sarah Polley’s Stories We Tell, and Kogonada’s Columbus. These films, by filmmakers of limited stroke and cache, were major personal discoveries and provided Chicago audiences with an early glimpse into some of the more notable titles to come out of Tribeca, Sundance, and other American film festivals.
This year’s programming includes some especially intriguing titles like Andrew Bujalski’s Support the Girls, David and Nathan Zellner’s Damsel, and Bo Burnham’s Eighth Grade. However, my most highly anticipated title is Paul Schrader’s new film, First Reformed, with the filmmaker in attendance for a post-Q&A session.
Below you’ll find links to select reviews of titles, updated throughout the duration of the festival. For schedule and ticketing information, refer to the Music Box website here.