Chicago's Own: Connections | Chicago Reader

Chicago's Own: Connections

All seven films on this program are by Chicago women, and most of them are endearingly obscure; their poetic, allusive image combinations open up subjects the films don't fully delineate. In Cornered April Simmons's cryptic narrative and intense close-ups hint at spirit presences, though I didn?t realize while watching it that the film was about a girl who feeds a ghost at night. In The Last Days Shaz Kerr suggestively intercuts the story of a Chicago ghetto youth with a boy resistance fighter in 1941 Europe, paralleling their respective collisions with the adult world. Childhood also figures in Ines Sommer's Red Shoe, which juxtaposes an adult dancer with images of children, finding connections between art making and play, both of which threaten to spin out of control. Dima El-Horr's The Street, shot in Beirut in black and white, has a crisp documentary look, contrasting its boy protagonist with an overwhelming city landscape. Heather McAdams's A Pussy avoids easy laughs in its tour of a Paris pet cemetery, almost encouraging us to respect its cat memorials. On the same program, Balvinder Dhenjan's The Pyre and Laura Heit's Parachute; Dhenjan, Heit, Kerr, and Sommer will attend the screening.

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