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DOC FILMS ANNOUNCES Summer 2014 CALENDAR 1212 East 59th Street Media Contact Chicago, IL 60637 Peter Goldberg (773) 702 8574 732.859.5228 docfilms.org [email protected] For immediate release DOC FILMS ANNOUNCES Summer 2014 CALENDAR HYDE PARK, CHICAGO, IL. (June 20, 2014) – Doc Films, the historic student-run film society at the University of Chicago, announced its Summer 2014 calendar today. Starting on June 25th, each night features a film series with a unifying theme, be it a director, actor, time, place, studio, genre, or idea. Saturdays showcase a sampling of recent hits you might have missed—or perhaps you’re craving another viewing— and murmuring restorations under the hype radar. In addition to the many special events hosted by Doc Films at the Max Palevsky Cinema, the programmers have designed these eight series to provide the community and world with nightly oases of cinematic reverence: SUMMER AT DOC FILMS has arrived. From June 25 to August 30 patrons will be served a smorgasbord of visual delights with 40 films selected to sweep the range of cinematic palates, from the adolescent and energetic WET HOT AMERICAN SUMMER (8/9) to the portrait of pretension in POISON FRIENDS (8/7). We’ve got no less than four off-beat book adaptations including David Lynch (whose ERASERHEAD is also playing (7/19))’s DUNE (8/1), JODOROWSKY’S DUNE (8/2), and the first film adaptation of A Clockwork Orange, VINYL (8/20). Some under the radar works from classic directors preside over our summer schedule as well, with works such as Hitchcock’s 19th century period drama, UNDER CAPRICORN (8/28) and Josef Von Sternberg’s final film ANATAHAN (7/26). Keeping things current we also have a few new releases, including the strange and devastating THE MISSING PICTURE (7/3) and THE LUNCHBOX (7/12). Finally, lest you find Doc to be a little too tame this summer, we have a selection of more adult features for you to enjoy like the strangely serious and dramatic ROOMMATES (7/2), the cinephilic TAKE OFF (7/30), and finally, one of John Waters’ favorites, PORN THEATER (7/31). WHERE: WHEN: Max Palevsky Cinema in Ida Noyes Hall Wednesdays – Saturdays at 7PM, unless otherwise 1212 East 59th Street specified. See schedule below for complete times. Chicago, IL 60637 Street parking is available. PRICE OF ADMISSION: Ticket: $5 Summer Quarter Membership: $20 Summer Quarter Renewal: $18 MEDIA CONTACT: Peter Goldberg • 732.859.5228 • [email protected] Doc Films Online: docfilms.org • (facebook)(twitter)/docfilmschicago Doc Films Office: 773.702.8574 COMPLETE Summer 2014 CALENDAR: Week I W 6/25 Union Pacific, Cecille B DeMille, 1939. 16mm 7PM When the 1862 Pacific Railroad Act authorizes Westward expansion, Asa Barrows forsees huge profits in blocking its advance. Railroad man Captain Jeff Butler spends most of his time trying to counter Barrows, but he can't help noticing the engineer's daughter (Barbara Stanwyck). Released two months after Stagecoach, Union Pacific was one of the first Westerns to seriously engage with issues of nationalism. The result effectively transformed the genre. T 6/26 Head-On, Fatih Akin, 2004. 35mm 7PM Cahit and Sibel are two Turkish Germans living in Hamburg. After both attempt suicide, they gravitate to one another in a local hospital. To escape her conservative family, Sibel proposes a fake marriage to Cahit, promising that they would be little more than roommates. As the two begin to fall in love, they also experience all the requisite pain and jealousy. A complex love story, Head-On also serves as Akin’s personal exploration of immigrant identity. F 6/27 Sleep My Love, Douglas Sirk, 1948. 16mm 7, In a remarkable opening scene, we watch Alison Courtland (Claudet Colbert) wake up to 9PM find herself on a train that's already well on its way to Boston. The only problem is that she has absolutely no memory of how she got there. Her reaction is visceral and unnerving— unable to hold back her fear, she runs through the train screaming in hysterics. The mysteries grow even deeper after she gets off the train and discovers a gun in her purse. S 6/28 My Man Godfrey, Gregory La Cava, 1936. 35mm 7, Even without the presence of distinguished colleague Myrna Loy, William Powell delivers 9PM a top-notch performance. He picked up an Oscar nod for his turn as a down-on-his-luck bum who is picked up as a scavenger hunt prize by a ditzy heiress (Carole Lombard) and ends up as her family’s butler. Soon, Godfrey has made himself an invaluable addition to the eccentric household, but a few surprises ensue when they learn more about his past history. Week II W 7/2 Roommates, Chuck Vincent, 1981. 35mm 7PM A bold attempt to expand the definition of "adult film," Roommates follows three women whose career ambitions make them vulnerable to sexual degradation. "[Chuck] Vincent extracts hard-core sex from a utopian fantasy world,” argues scholar Jake Gerli, “and places it in a more nuanced emotional realm, often of hurt and humiliation." This queer perspective on straight sex is more influenced by classic Hollywood melodrama than typical grindhouse fare. T 7/3 The Missing Picture, Rithy Panh, 2013. DCP 7PM In the late 1970s, followers of the Communist Party of Kampuchea gained power and orchestrated the Cambodian Genocide. Director Rithy Panh uses both archival footage and animated clay figures in this poignant and unorthodox documentary to recreate the atrocious events committed by the Khmer Rouge.The film won the Un Certain Regard at the 2013 Cannes Film Festival and was also nominated for Best Foreign Language Film at this year's Oscars. F 7/4 NO MOVIE. HAPPY FOURTH OF JULY!! S 7/5 An American Werewolf in London, John Landis, 1981. 35mm 7, Directed by famed Chicagoan John Landis, An American Werewolf in London follows 9:15PM two young men on a backpacking vacation through London. Three weeks after David and Jack are brutally attacked by a werewolf, David learns that he has already been turned—he will be transforming upon the next full moon. For fans of the horror-comedy genre, this film is a must-see. Edgar Wright, director of Shaun Of The Dead calls this one of his favorite fillms. Week III W 7/9 Park Row, Sam Fuller, 1952. 16mm 7PM Steve Brody leaps from the Brooklyn Bridge, inadvertently providing the first big scoop for a struggling young editor on his way to the top. Fuller delves behind the scenes of a great metropolitan newspaper, which becomes a metaphor for the grimy and corrupt city. Park Row exemplifies a fully conscious artist working for the grindhouse audience. With gangster intimidation, sabotage, typesetting, and the line-o-type machine, time only adds to the wonder. T 7/10 The Front Page, Lewis Milestone, 1931. 35mm 7PM Newshound Hildy Johnson wants to quit the business and get married, but conniving editor Walter Burns can’t lose the services of his best reporter, so he engages in some manipulative tactics to keep the star employee in town. Sound familiar? It’s not His Girl Friday, but The Front Page, the source material for that later screwball epic! Pat O’Brien takes the stage as a male Hildy opposite Adolphe Menjou as his boss, and the sparks fly from the beginning. F 7/11 Slaughterhouse-Five, George Roy Hill, 1972. 35mm 7, Here’s the first valiant attempt to translate one of Kurt Vonnegut’s notoriously 9:15PM unadaptable novels to the big screen. It’s almost certainly the most successful: even the cinematically uninclined author called it “a flawless transition” from page to screen. We follow the “unstuck in time” Billy Pilgrim from Ilium, New York, to bombed-out WWII-era Dresden to the distant planet of Trafalmadore, with Vonnegut’s peculiar humor popping up at each step. S 7/12 The Lunchbox, Ritesh Batra, 2013. 35mm 7, As the dabbawallahs of Mumbai collect lunchboxes from the homes of workers in the 9:15PM mornings and redistribute them to their respective workers at lunchtime, a mistaken delivery connects a young housewife to an older working man. Through notes in his lunch box, the two correspond and build a romantic fantasy world together. You'll recognize lead actor, Irrfan Khan, from recent films like Life of Pi, Slumdog Millionare, and The Namesake. Week IV W 7/16 Dracula (The Dirty Old Man), William Edward, 1969. 35mm 7PM Dracula, the old dirty bastard, is a good hater. Alas, the fetid, filthy one takes notice of Dr. Jekyll (and his lovely date) and transforms him into something utterly vile. Now a victim, the good doctor cooperates fully. Perhaps he wishes to hide his terrible new identity by consorting only with foul monsters. Perhaps it is Stockholm Syndrome. Oh, the revelment in another's pain and helplessness. How can a merciful God allow such cruelty to exist? T 7/17 T-Men, Anthony Mann, 1947. 35mm 7PM Before the X-Men, there were the T-Men - United States Treasury agents Dennis O'Brien and Tony Genaro. The two agents go undercover to infiltrate a dangerously successful counterfeiting ring, but things take a turn for the worse when one of the agents is killed in this this noir-style B movie. Shot by famed noir cinematographer John Alton, the film is a semidocumentary take on the genre. As the original tagline read: "Tough...Tense...Terrific...True!". F 7/18 Knife in the Water, Roman Polanski, 1963. 35mm 7, Knife in the Water is Roman Polanski’s first feature, and it finds him exploring a story 9:15PM of good intentions gone very wrong.
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