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Home , 99 Homes, Agata Kulesza, Autumn Tale, A Bronx Tale, Bridges of Sarajevo, Champaign Park District

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Ebert2015Cover.indd 1 2/27/15 9:08 AM This year’s festival is dedicated to ’s own 1944-2014

“Honestly, Harold was a Renaissance man who enjoyed so many things, just like Roger. He was not only sweet but deeply intelligent and insightful and inquisitive. He had his feet on the ground the whole time, enjoying every minute of .”

– Erica Mann Ramis Film Screenings Academic Panel Discussions Wednesday, April 15 Illini Union 1401 W. Green Street, Urbana, IL 7:00 p.m. Free and open to the public 9:30 p.m. Harold Ramis Tribute Thursday, April 16, 2015 Friday, April 17, 2015 Pine Lounge, 1st Floor Pine Lounge, 1st Floor Thursday, April 16 9:00 a.m. – 10:00 a.m. 9:00 a.m. – 10:00 a.m. 1:00 p.m. A Pigeon Sat on a Branch Challenging Stigma Filmmaking in the Reflecting on Existence Through the Arts Digital Age 4:00 p.m. Moving Midway Moderated by Moderated by Eric Pierson Nate Kohn 8:30 p.m. 10:15 a.m. – 11:15 a.m. 10:15 a.m. – 11:15 a.m. Ebert Center @ : Critics Forum Friday, April 17 Storytelling Meets Moderated by 1:00 p.m. Girlhood Engineering Godfrey Cheshire 4:00 p.m. Moderated by 8:30 p.m. Dean Jan Slater Saturday, April 18 Live On-air Interview 11:00 a.m. Wild Tales Wednesday, April 15, 2015 2:00 p.m. Ida 9:00 a.m. – 10:00 a.m. 5:00 p.m. The Motel Life Jim Turpin’s (WDWS-AM 1400) 9:00 p.m. Interview Sunday, April 19 11:00 a.m. Seymour: An Introduction

All films will be shown at the historic Virginia Theatre, 203 W. Park, Champaign, IL. Festival guests will appear on stage after each film to join the audience in discussions about the films. Festival passes ($145). Individual tickets ($14) and student & senior citizen tickets ($12) on sale at the Virginia Theatre box office, 217-356-9063.

For more information contact: Mary Susan Britt [email protected] 217-244-0552 College of Media You don’t have to be a math major to know Binny’s has the lowest prices in town!

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2 17th Annual ’s ale o ontents Welcome from ...... 5-7 ovie eviews Welcome from the University of Illinois ...... 9 WEDNESDAY, APRIL 15, 2015 Goodbye to Language (7:00 p .m .) ...... 40 Welcome from the Festival Director ...... 11 Harold Ramis Tribute (9:30 p .m .) ...... 41

Talking with Chaz Ebert ...... 13 THURSDAY, APRIL 16, 2015 A Pigeon Sat on a Branch The force behind Ebertfest ...... 17 Reflecting on Existence (1:00 p .m .) ...... 46 Moving Midway (4:00 p .m .) ...... 48 Important Information About the Festival . . . . . 19 The End of the Tour (8:30 p .m .) ...... 52

Dining Tips ...... 21 FRIDAY, APRIL 17, 2015 Girlhood (1:00 p .m .) ...... 54 Volunteering is a Family Affair for Elliotts . . . 23 The Son of the Sheik (4:00 p .m .) ...... 56

Festival Guests ...... 25-37 with The Alloy Orchestra A Bronx Tale (8:30 p .m .) ...... 58 Remembering Harold Ramis ...... 39 SATURDAY, APRIL 18, 2015 A Look Back at Last Year’s Festival ...... 79-81 Wild Tales (11:00 a .m .) ...... 60 Ida (2:00 p .m .) ...... 64 Special Thanks ...... 83 The Motel Life (5:00 p .m .) ...... 66 99 Homes (9:00 p .m .) ...... 70 Festival Sponsors ...... 84-85 SUNDAY, APRIL 19, 2015 Parking Information and Area Map ...... 87 Seymour: An Introduction (11:00 a .m .) . . . . . 72

The Daily Illini is proud to produce this Festival Program each year.

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4 17th Annual Roger Ebert’s Film Festival Chaz Ebert executive producer and host elcome to ertest

t is difficult for me to believe “Overlooked” in the original title Ithat it has been a year since of the festival. I am thrilled to our last Ebertfest. Memories welcome two Oscar nominees, of our 2014 festival are still so actor/filmmaker vivid in my mind. It feels like and producer Jon Kilik, to the just yesterday Bill Nack was festival for a screening of their reciting Roger’s favorite passage 1993 film, “A Bronx Tale.” from “The Great Gatsby” onstage Palminteri based the film’s script following the magical opening on his semi-autobiographical night screening of Steve James’ play. Palminteri co-stars in “Life Itself.” You could feel the the film along with Robert De silence in the room as audiences Niro, who made his directorial shared in the experiences of my debut with this picture. In his dear husband’s final days, while 4-star review, Roger wrote that bursting out into uproarious the film “is filled with life and laughter at his ageless wit and colorful characters and great incomparable banter with his lines of dialogue, and De Niro legendary sparring partner, […] finds the right notes as he . It truly felt like a moves from laughter to anger to homecoming for us, screening the tears.” Another fine character film for our ever-growing family study screening at the festival is at Ebertfest, and I carried those 2013’s “The Motel Life,” pairing good memories with me for the Chaz Ebert, executive producer and host of Ebertfest and rest of the year as I traveled the as brothers on the run, also co- country promoting the film. It The rich smorgasbord of Adult?” Or how the audience starring . We are received a great many accolades audience members—a mixture of rose to its feet for an emotional pleased to have the director, along the way, yet none quite as filmmakers, journalists, students, standing ovation celebrating Alan Polsky as a guest along poignant as the Golden Thumb. Road Scholars and film buffs the astonishing achievement of with acclaimed actor Stephen Last year also saw the both local and from around the Haifaa Al-Mansour? Her debut Dorff. The co-director of the film, unveiling of Rick Carney’s globe—that annually make feature, “,” was the , is Alan’s brother wonderful sculpture of Roger. their pilgrimage to the Virginia first film ever to be shot in its and directed the acclaimed Thank you to Donna and Scott displays an enthusiasm, kindness entirety in , not to documentary, “Red Army.” Anderson for making this a and adventurous spirit unlike any mention the first film helmed Several of the films screening reality. Although Roger would I have witnessed at any other by a female Saudi director. The this year, however, have yet to have been too modest to think festival. Their participation in picture stands as unassailable be seen by the vast majority he deserved a monument to the post-film Q&As always leads proof that artistry can survive of people in the U.S. As an himself, it just feels appropriate to great conversations that are and flourish anywhere—even in attendee at Ebertfest, you will that the bronze figure of Roger well worth sticking around to a country lacking an industry to be among the lucky few to view now has a permanent home at see. Who can forget how Patton support it. them before everyone else. On Ebertfest’s grand and grandly Oswalt brought down the house Ebertfest is proud to shine the heels of gaining a well- intimate venue, the Virginia last year with his uproarious a light on movies that deserve deserved reputation as one of the Theatre, where it will give a quips and candid reflections to be rediscovered. That is hottest tickets on the festival hearty “Thumbs Up” to movie on ’s “Young why Roger included the word circuit, ’s “The lovers for generations to come. It End of the Tour” will screen at is especially touching for me to Ebertfest. James will join us see Roger’s likeness honored in Ebertfest is proud to shine a light on making this his second visit to this way, since it brings him full Ebertfest following his celebrated circle back to his alma mater, the movies that deserve to be rediscovered. That appearance two years ago with University of Illinois at Urbana- actress for a Champaign, which has done a is why Roger included the word “Overlooked” screening of his riveting teen superb job of hosting the festival, romance, “.” thanks to Dean Jan Slater and in the original title of the festival. the College of Media. continued on page 6

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 5 elcome to ertest continued from page 5

“The End of the Tour” features a will remember the late director richly anticipated performance Viewers seeking cinematic experiences of a Harold Ramis with a tribute. The by as David Foster first such tribute ever presented Wallace, whose father, James, wholly unique and unpredictable stripe are at Ebertfest. We will have a was a professor at the University montage of his films followed by of Illinois. guaranteed to be first in line for “A Pigeon a celebration of his career. The briefly attended Urbana High amazing thing you will see is how School, Roger’s alma mater. Jason Sat on a Branch Reflecting on Existence.” the brilliant Ramis hid deeply Segel will be with us. The film profound philosophies about life, co-stars , Anna religion and Buddhism in his Chlumsky and Joan Cusack. in a special 3D imagery unlike No festival is complete without vastly entertaining comedies. We Another returning guest this any witnessed in the history of documentaries, and this year we will be joined by Ramis’ widow year is , who the medium. Some may find this have two must-see selections. and producing partner, Erica dedicated his latest film about film ponderous, (just what a film “Moving Midway” is a personal Ramis. Filmmaker Trevor Albert, the heartbreak of repossessed festival is for), but Godard’s film portrait of Southern plantation who produced or worked on houses in Florida, “99 Homes,” to was named the best film of 2014 life written and directed by productions of several of Ramis’ Roger. , Andrew by the National Society of Film RogerEbert.com critic Godfrey films including “Groundhog Day” Garfield and headline Critics and was awarded the top Cheshire. Cheshire’s film is topical and “,” and frequent the impressive cast of this timely prize at the . in so many ways: about race producer and assistant to Harold drama, a film I wish Roger could We are so fortunate to be able to relations, about the anniversary Ramis, Laurel Ward, will also join have reviewed. present it in 3D in this gorgeous of “Birth Of A Nation,” about the us. Two of this year’s acclaimed movie palace. Héloïse Godet, star meaning of the words “home,” In addition to the films, we foreign imports tackle female of “Goodbye To Language” will be and “plantation” and how will present stimulating academic identity in exhilarating fashion. with us. those words can mean different panels about challenging stigma Céline Sciamma’s “Girlhood” stars Viewers seeking cinematic things to a white descendant through the arts, storytelling Karidja Touré in a revelatory experiences of a wholly unique and a black descendant of the meets engineering at the Ebert debut performance as a teen and unpredictable stripe are same relative who once lived Center, a filmmaker’s panel, the struggling to break out of guaranteed to be first in line in the Midway Plantation. We future of and other her bleak surroundings while for “A Pigeon Sat on a Branch are pleased to welcome Godfrey topics. coming of age in an oppressive Reflecting on Existence,” the final Cheshire. As always, this program goes environment in France. This film film in revered Swedish filmmaker We are also presenting Ethan to press before a few things are is being made possible by our ’s trilogy “on Hawke’s meditative documentary finalized, so expect some surprise generous returning sponsor The being a human being.” The first about the charming classical guests and please understand Champaign County Alliance for film, “Songs From the Second pianist Seymour Bernstein in that there may be some changes the Promotion of Acceptance, Floor,” was a highly controversial “Seymour: An Introduction.” that we have no control over. Inclusion and Respect. Pawel film at an early Ebertfest, and Mr. Bernstein will join us and You will also be welcomed Pawlikowski’s “Ida,” which when we showed Andersson’s teach a masterclass in piano to into a community of movie lovers won this year’s Best Foreign second film in the trilogy, I two students chosen from the populated by numerous special Film Oscar, charts the inner think an atmospheric dust School of Music at the University guests that include illustrious transformation of a young nun storm from an Icelandic volcano of Illinois. He will be joined on film critics , (another stunning newcomer, eruption prevented producer stage by Rumi Scholar Andrew , Agata Trzebuchowska) on the Johan Carlsson from coming. Harvey, who encouraged the film critic Michael Phillips, eve of taking her vows, as she Fortunately Johan will be able to making of this movie. RogerEbert.com editor-in-chief learns the startling identity and join us this year. We extend open arms to Matt Zoller-Seitz and managing disturbing fate of her parents. Damián Szifrón’s Oscar- the Alloy Orchestra (Terry editor Brian Tallerico, The film’s gloriously textured, nominated “Wild Tales,” takes Donahue, Ken Winokur and RogerEbert.com critics Glenn Oscar-nominated cinematography the form of vignettes tracing Roger Miller), back for their 14th Kenny, Susan Wloszczyna, Simon by Lukasz Zal and Ryszard seemingly ordinary events as performance at Ebertfest, where Abrams, Sheila O’Malley and Peter Lenczewski demands to be seen they gradually erupt into chaos. they will provide the live score Sobcynzski, Matt Fagerholm, and on the biggest screen possible, Michael Barker, Co-President of accompaniment for Rudolph The Urban Daily’s critic Rebecca and makes it a perfect choice for Pictures Classic, is bringing Valentino’s 1926 swan song, “The Theodore-Vachon and Movie Ebertfest with our world class us this wildly entertaining film Son of the Sheik,” screening here Mom from the Beliefnet.com Nell projection consultant, James fresh from its appearance at the in a newly restored print. This Minow; video essayist Kevin B. Bond. . We are happy to is said to be Rudolf Valentino’s Lee; Far Flung Correspondent And speaking of beautiful welcome him back. He has been finest role before his death at age Omer Mozaffar, University of San projection, James Bond will a good friend of the festival for 31. This film is being presented Diego professor Dr. Eric Pierson screen “Goodbye to Language,” many years. Also joining us will by our generous returning and our official blogger, film critic the latest work of French New be actress Julieta Zylberberg and sponsor, Steak ‘n Shake. from Movie Mezzanine and Forbes, Wave trailblazer Jean-Luc Godard casting director Javier Braier. And last but not least, we Sam Fragoso.

6 17th Annual Roger Ebert’s Film Festival Other special guests and resolute in that commitment. downstate barbeque from the at Urbana-Champaign; The Ebert panelists in addition to Michael Mary Susan Britt makes tent in front of the theater. She Foundation; and Hollywood Barker Co-President of Sony everything run and despite the came back year after year all Foreign Press Association. Pictures Classics include, challenges we present her with, while trying to support her gifted Volunteers serve in many founder Dan Aronson, Darrien she has remained level-headed, hockey playing son Marcus in ways, including serving as drivers Gipson of SAGindie and Emmy- organized and diplomatic. She Canada and the US. Mrs. Mitchell and guides for festival guests. We winning documentary producer heads a dedicated staff, including and other vendors make it thank them for their loyalty and Zak Piper (whose work includes many Volunteers whose smiling convenient for our festival-goers continuing support. “Life Itself”), and Professor Todd faces have become familiar over to grab a bite to eat in between Thank you to Leone Advertising Rendleman of Seattle Pacific the years. It is with much sadness movies. We will also have food who is our invaluable Webmaster University, an UI alum who wrote that I announce that Mary Susan trucks this year at Ebertfest at ebertfest.com; Carlton Bruett the book about Roger, “Rule of will be leaving Ebertfest after – a first – including one from who is responsible for the posters Thumb.” 14 years to move to Louisiana Hendrick House that will serve and the look of the festival; and I am grateful to Roger’s alma with her husband Tad and their several gourmet selections and The Daily Illini which produces mater, the College of Media, daughter Grace. My heart breaks another from Steak ‘n Shake, this splendid program. of the University of Illinois at over this news. Please join me for those of you who love their And once again I want to call Urbana-Champaign, for making in celebrating Mary Susan every famous steak burgers as much as attention to our Ebertfest iPad it possible to gather once again chance we get at this, her last Roger did. App from Shatterglass Studios. and welcome the 1500 guests to Ebertfest. Thanks also goes to the Illini The app contains every festival the Virginia Theater. So I say a Steven Bentz and his cheerful Union which plays host for most interview, photograph, review, special thanks to University of staff at the Virginia Theater of our guests in the heart of the panel discussion, link and artifact Illinois President Bob Easter and put out the welcome mat. The campus. that we could find from the first his wife Cheryl, to Chancellor and the Our sponsors are crucial. They sixteen Ebertfests. It is available Phyllis Wise, and to Dean Jan Champaign Police Department help make the festival possible. on iTunes and updated annually. Slater for their generous support. are always helpful. Betsy Without their financial support Our thanks to Shatterglass for Roger and I announced the start Hendrick throws her now- we could not undertake the doing this and for the spectacular of the Roger Ebert Center to be legendary Saturday night party. festival year after year. Some festival videos they do for us every located within the College of Where would we be without our sponsors have been with us year. Look for Luke Boyce and Media and I will be calling on fabled projectionist James Bond all 17 years; some are with us Brett Hayes, the Shatterglass guys, you to help us make the Center a who maintains the highest of for the first time this year. We aound the festival. reality to maintain Roger’s legacy standards whether projecting 70 say a special thanks to some And finally, I want to thank of passing forward the values of mm, 35 mm, 3D or digital prints. of our leading sponsors: The the festival goers who keep empathy and compassion through We are so grateful for their Champaign County Alliance for coming back year after year. cinema and to encourage and continued help. the Promotion of Acceptance, Thank you for uncovering cinema support emerging writers and We thank our friend Bertha Inclusion and Respect; Steak ‘n gems with Roger and me over filmmakers at Ebertfest and other Mitchell, who serves her famous Shake; the University of Illinois the years. And thank you also to events throughout the year. those who are joining us for the From Day One Professor Nate first time. Thank you for honoring Kohn from the University of I want to thank the festival goers his memory and for keeping his ’s Grady College has been who keep coming back year after year. legacy alive. In the tradition of the festival director. Nate is an Roger I encourage you to please Urbana native and Illinois alum. Thank you for uncovering cinema gems greet your fellow festival-goers. So Ebertfest is close to his heart. As Roger used to paraphrase a He made a commitment to Roger with Roger and me over the years. well-known movie title, they’re no to carry on, and he has been longer strangers when they meet.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 7 8 17th Annual Roger Ebert’s Film Festival his ise niversit o inois chanceor ertest maes time or areciation

elcome to Ebertfest! Every year it is exciting to see how this singular film festival And clearly, we have Roger Ebert to thank transforms our university and for teaching us that movies are, indeed, our local community into the center of the film world. These art to be celebrated. hectic days of darkened theaters and conversations with actors, writers and directors don’t just give us a look at great movies, a great movie. I am particularly perspectives and your knowledge they remind us how powerful fond of this observation of his: in ways that help all of us see and transformational art can “I am, beneath everything else, these films in a new way. be in any form. And clearly, we a fan.” But, I am also grateful to have Roger Ebert to thank for I admire those of you know that when the lights go teaching us that movies are, who understand the special down this year and the opening indeed, art to be celebrated. vocabulary of film and have credits roll and I simply get lost Phyllis M. Wise But even as he used his the knowledge and expertise to in the stories that follow, that Chancellor, University of Illinois at Urbana-Champaign words and vision to elevate film look at these moving pictures in the founder of this great festival criticism and reviews to a literary ways that I cannot. And I thank would be the first to understand. form, he also never let us forget those of you who take the time Here’s to being a fan of great that it was okay to simply enjoy and effort to share these special films!

an ater ean o the Coee o edia ommunit suort drives Festival

he College of Media is delighted to be your host for the 17th annual Ebertfest. We produce this festival each year to honor We produce this festival each year to honor Roger’s love of Roger’s love of storytelling. storytelling. Roger believed that the close study of films was important. He believed that films affect how people think the combined resources of the human effort and unsurpassed and behave, and that close College of Media, the University coordination. They work tirelessly analysis can illuminate this for of Illinois, the Champaign Park and graciously to make this event viewers. By encouraging people District, our loyal sponsors, our better each year. to choose movies that can expand dedicated volunteers and you, the The College of Media at the their understanding of human movie fan, we wouldn’t be here University of Illinois welcomes nature, Roger achieved what he today. Thank you for partnering you to the best show in town. considered his highest calling: with us to bring these films and We appreciate your support and Jan Slater to encourage good films and their creators to town. revel in your enthusiasm for Dean, College of Media, University of discourage bad films. Our heartfelt thanks go to what the next few days bring to Illinois at Urbana-Champaign The partnerships that have Mary Susan Britt and Dr. Nate Champaign-Urbana. grown around Ebertfest make Kohn who organize and direct Welcome to Ebertfest. Enjoy the the festival possible. Without this festival. It requires super show!

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 9 Betsy Hendrick encourages you to Help Keep Roger’s Dream Alive Please donate to the Roger Ebert Center at the University of Illinois

“The University of Illinois is deep in my heart as a great institution. It informed me and enriched me and guided me in my lifelong love of film. I hope when the Center is fully realized, it will inspire new generations.”

– Roger Ebert (BS ‘64 Journalism)

To make a donation and help with Roger’s dream please contact Vicki S. Megginson, Ph.D. [email protected]

• Bring together journalism and the • Engage students and faculty to The art of storytelling carry forward Roger and Chaz’ • Champion humanist films and vision of how film analysis can Roger Ebert filmmakers whose work deserves inform the world around us to be encouraged and seen • Serve Roger’s mission of linking Center • Challenge students and the film, film analysis, its production, industry to produce stories that technologies and industry with will: matter vital social topics and issues

10 17th Annual Roger Ebert’s Film Festival ate ohn estiva director Festival remains true to erts vision

elcome to the 17th annual together over the years. And we opinion of 3D. In 2011, he wrote One of our most dedicated Roger Ebert’s Film Festival, do draw from those lists. But a journal entry entitled WHY sponsors, the Champaign County a special event of the University more importantly, we are always 3D DOESN’T WORK AND NEVER Alliance for the Promotion of of Illinois’ College of Media in conscious of Roger’s vision for WILL. CASE CLOSED. Later that Acceptance, Inclusion, & Respect, partnership with the greater the festival and the kinds of year, he softened his position in in addition to sponsoring our Champaign-Urbana community films he wanted to showcase and his review of Martin Scorsese’s showing of “Girlhood” is holding and lovers of movies everywhere. champion – film that address “Hugo,” saying that Scorsese used a panel discussion on Thursday We mark an important the human condition, that allow 3D “properly.” And he approved morning at the Illini Union. milestone at this year’s festival. us to explore places and people of how 3D was used in “Avatar” Please plan to attend this free Mary Susan Britt, our festival strange to us, films that engender and “Cave of Forgotten Dreams.” event. We thank the Alliance for associate director for the past empathy for others. So this year, Godard has succeeded in moving realizing the power of film to 14 years, will be leaving us this we are showing three films that the bar even further, using 3D change minds and attitudes, for summer for the warmer pastures Roger reviewed and loved; three in ways never before imagined, supporting our festival, and for of Louisiana. So this is her last new films by festival alumni, two as “an important artistic tool” all the good they do year after Ebertfest. After joining us in the of which premiered recently at in and of itself, to quote David year in Champaign County. early part of the last decade, the and Bordwell. We think Roger would And of course, Roger’s favorite Mary Susan quickly became an one that took home a prize at approve. We also think he would restaurant, Steak ‘n Shake, is back essential part of the Ebertfest the ; three be in total awe, seeing this 3D with us once again, this time team. Everything that Chaz Ebert critically acclaimed foreign film projected properly on the sponsoring our . Their and I don’t do, Mary Susan does. language films, two from France Virginia’s large screen by our famous slogan, which Roger never And that means a lot. She deals and one from Argentina; a resident projection expert James tired of reciting in his booming with the Virginia Theatre, green silent film accompanied by the Bond. And we thank James, who voice, “In sight it must be right,” room caterers, volunteers, film Alloy Orchestra; and a music loves this film so much that he might also apply to the films that distributors, filmmaker travel documentary that touched our is personally sponsoring this screen at Roger’s festival. and accommodation, filmmaker hearts. All these films accomplish screening. We would also like to thank hosts, Hollywood publicists and what Roger looked for in a great We also thank our other Kino Lorber, Strand Releasing, agents, grant applications and festival film. We hope you will sponsors, volunteers, festival Music Box Films, Second City, dozens of other things that I agree. pass holders and individual Box 5, Magnolia Pictures, Sony don’t even know about. She One of those films, “Goodbye to ticket holders for their welcome Pictures Classics, Broad Green also recruits festival sponsors Language” by Jean-Luc Godard, participation in this endeavor. We Pictures, First Run Features, and donors, and in the process which took home a prize at look forward to your unwavering Polsky Films, , and IFC Films has made many friends for the the Cannes Film Festival, will support as our festival continues for graciously providing us with festival and for herself. We will screen in 3D. You will wear to blossom each year in the their very best 35mm and digital miss her hard work, straight talk, glasses. Now we all know Roger’s Central Illinois spring. prints. A particular appreciation sense of humor, and most of all, goes to Jane Rosenthal at Tribeca, her Southern charm. We wish Martin Scorsese, and The George her well in her new endeavors. All these films accomplish what Roger Eastman House who helped us Two other people will be hired to secure an archival print of “A take her place, but we all know looked for in a great festival film. Bronx Tale.” that Mary Susan, loved by all of Finally, I want to recognize us who know and admire her, Associate Festival Director Mary is completely irreplaceable. My Susan Britt (once again), Dean definition of a good producer is Jan Slater, President and Mrs. someone who can make things Bob Easter and Chancellor Phyllis happen; Mary Susan makes Wise without whose hard work things happen. So when you and enthusiastic support this see her around the Union or the festival would not be possible. Virginia, please wish her well We especially want to thank the and encourage her to change her University of Illinois for its loyal mind. support. Chaz Ebert and I get a lot of This festival is Roger Ebert’s questions about how we select gift to his hometown, and for the festival films now that Roger that we thank him and Chaz. is no longer with us. Of course They continue to be a remarkable there are lists of films that Roger, team, and it is an honor to work with a little help from us, put Nate Kohn, festival director with them.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 11 All Q&A sessions and panel discussions will be streamed live on the Internet at Tequila Mockingbird eertfesto The Codfather Lord of the Wings

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12 17th Annual Roger Ebert’s Film Festival aling wit a ert By Abrar Al-Heeti, The Daily Illini

hen Roger Ebert But the connection really considered potential deepened when we started films to show at Ebertfest, Ebertfest (originally called there was one person in Roger Ebert’s Overlooked Film particular who he loved to Festival) there 17 years ago. discuss movies with: his wife, And now with a sculpture of his supporter and his closest Roger in front of the Virginia friend Chaz. Theatre, it just feels like a We spoke with Chaz via email home away from home when I and asked her a few questions go there. That is why I am so about her connection to the happy we will be establishing Champaign-Urbana community, The Ebert Center in the College how the film festival has of Media at the University. carried on without the man Roger says that his values were who started it all and what she instilled in him by his parents believes her husband’s legacy is. and the nuns in his grade school, and that the University The Daily Illini: What gave him a window to the rest Photo courtesy Thompson McClellan connection do you feel with of the world. He was always so Chaz Ebert touches the hand of the statue of Roger Ebert that was unveiled at Ebertfest last year. Champaign-Urbana? When did grateful for his start. that connection start? Chaz Ebert: Urbana was my DI: Whose decision was it to CE: The festival differs from respected what Nate and I had husband’s hometown, and so continue the festival, and how other festivals because it to say about the films and the of course I feel a connection do you feel about it? exists purely for the pleasure guests, and he trusted us to to the twin-towns of Urbana- CE: There was never any real of experiencing good films in keep things going. My routine Champaign. In the beginning, it talk about not having the film the communal atmosphere of with Roger when we were was more a curiosity in wanting festival. It just didn’t occur to other film lovers in a gorgeous going home would be to talk to know more about Roger’s us that it shouldn’t take place. renovated movie palace. We about films we wanted at the background and the influences Roger and I had worked with don’t conduct business or have festival, and so I have a list of that shaped him as a person Nate Kohn and Mary Susan competitive prizes or audition films that I will be excited to growing up there. But over the Britt and Dean Jan Slater, and people for their next roles. We present in future years. One years as we visited his relatives so many others on the festival try to maintain a warm and of those films is Jodorowsky’s there and attended his high for so long, that we all just welcoming environment for “Santa Sangre.” But I am school and college reunions, assumed it would continue. In our filmmakers and audiences, hoping we can do it when and maintained contact with fact, Roger was actually making and it has become one of the Jodorowsky is able to come the University, my relationship plans to attend the festival in friendliest festivals around. I with the film. I am so sad that to the towns grew. 2013 before he passed away on am proud to say that most of Roger didn’t get to welcome April 4. But when I think back the sponsors and attendees to the festival, on it, he was also making plans have been coming almost from but I am hoping we will be able if he could not make the trip. the beginning, and I am truly to do that one day. Anyone And it was only after we looked grateful for that. who has attended this festival at the totality of the program knows what a testament it is that year that we realized he DI: How has the festival to the values Roger espoused. knew he wouldn’t be there. The changed (both while Mr. He said that movies are a program contained several films Ebert was alive and after his giant machine that generate about loss and love and legacy passing)? How do you keep his empathy. He and I were big and continuing on in the face spirit and presence alive? on things like kindness and of loss. I was stunned when I CE: While we plan to keep up compassion. It is those things realized this. with the times, I like the fact as much as his movie reviews that you can still feel Roger’s that I consider his legacy. And DI: Can you describe the spirit here. We were so close while I am no Roger Ebert, support from fans and sponsors and we respected each other’s I will try to do my best to Chaz Ebert of the festival? opinions. But Roger also continue in that tradition.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 13 SAVING THE WORLD TWO FEET at a TIME

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 15 Extending the Highest Praise: umbs Up For 14 years Mary Susan Britt has been ank you for the dedication - the the organizational force behind Ebertfest. sleepless nights, the quiet strength, the Every detail – from ights and hotels, to sharp wit. We will miss your calm and volunteers and sponsors, to menus and Southern charm. Rest assured, you will passes – has felt her in uence. Mary Susan always be a part of Ebertfest in our hearts. has been instrumental in shaping the look and feel of the festival. And while this year Best wishes from your adoring fans. will be her nal performance, the event will forever carry her mark.

16 17th Annual Roger Ebert’s Film Festival ar Susan ritt e orce eind ertest By Reema Abi-Akar, The Daily Illini

ourteen years ago, Mary of Media. “I can’t imagine FSusan Britt responded to an another one person doing all ad in the paper to work for the that Mary Susan does.” University of Illinois’ College Britt’s annual Ebertfest of Media. Her family had just schedule begins in the summer, moved to Champaign-Urbana where she calls the festival from Vicksburg, Mississippi, and sponsors, puts together the she thought she’d try her luck sponsorship package and works with a new job in a new town. on the beginning phases of She couldn’t have predicted the following Ebertfest. Next that this job, director for come newspaper ads, media advancement in the College of connections and pass sales in Media and associate festival November before the home director for Ebertfest, would stretch in January. mold her career, connect her Despite her persistently with people in diverse walks of busy schedule, Slater said she life and create great memories. keeps an upbeat attitude and a “She very quickly became contagiously positive air. Photo courtesy Thompson McClellan Mary Susan Britt, far right, stands with Chaz Ebert and Nate Kohn at the opening indispensable to the organiza- “She’s a force… nothing night of last year’s festival. This will be Britt’s last year with Ebertfest. tion and the running of the fazes her,” Slater said. “No festival,” said Nate Kohn, direc- matter whether she might tor of Ebertfest. have one thing or a hundred This enables her to establish unbelievable,” Britt said. “We’ve With the festival in its 17th things on her mind, when close, personal relationships lived here for so long; we have year, however, it will be her she’s talking to you about her with volunteers, sponsors, a lot of connections, and I’m last in this position. She and daughter or her job or Roger students and festival staff, sure we’ll be back from time to her family will be moving to Ebert, she’s completely focused Kohn said. time.” Louisiana this summer and on you … I think one of her “She comes from the South She is especially passionate reconnecting with the South. greatest strengths is she listens and has a bit of a southern about keeping Roger Ebert’s “The warm weather is to people.” accent,” Kohn continued, legacy alive each April. something that we’ll welcome,” In addition to her day-to-day “Which seems to work wonders “There are so many things Britt joked. “As far as what and month-to-month tasks, she in Illinois when it comes to I enjoy about the festival; it’s I’ll be doing, I’m not sure, but also keeps track of individuals talking about the festival.” going to be impossible for me I’m sure it’ll be something who attend Ebertfest, especially This southern charm extends to say everything,” said Britt. wonderful.” those who return every year. into her conversations about “Having had the opportunity to This will be a new experience “She has an incredible the festival, her job, her family work with Roger Ebert has been for Britt, because she has been memory,” Slater said. “She or her coworkers. the experience of a lifetime. the powerhouse of Ebertfest for not only knows (the festival “I think it’s hard not to have But just how wonderful this so long, planning and carefully visitor’s) name, she knows who a personal relationship with community is, and how the organizing every detail year- they are, where they’re from, Mary Susan,” said Slater, who community really does get round in preparation for the what they do for Ebertfest, has known Britt since 2007. behind the festival … they festival. how long they’ve been involved “She makes everybody feel believe in what we’re doing and “She just handles it all,” said in Ebertfest… she knows the very special because she always what Roger started in 1999.” Jan Slater, dean of the College whole story.” gives them the time.” Every year is deemed “the In Britt’s case, time is best festival ever” by the time something she has very little it is complete, she laughed, “Having had the opportunity to of. She breaks up her time because each is so unique. between planning Ebertfest and Ultimately, while Britt is work with Roger Ebert has been the working with the College of excited for the next phase in experience of a lifetime.” Media, where she works more her life and her family’s life, with students and alumni. she will be missed through – Mary Susan Britt, associate festival director “The relationships I’ve made the personal networks she has and the friends I’ve made are created here.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 17 18 17th Annual Roger Ebert’s Film Festival Festival Ino Things to know about Ebertfest TICKET INFORMATION THEATRE GUIDELINES floor. Up to 18 wheelchairs FESTIVAL can be accommodated with • A Festival pass to all 12 • Patrons may enter the theatre one companion seat available MERCHANDISE screenings is $145. ONE HOUR prior to the FIRST per wheelchair. Tickets for During the festival, you’ll find • Individual tickets are $14. screening of the day, with the accessible and companion great merchandise in the east Student and Senior Citizen VIP/Festival passholders doors seating may be purchased at lobby of The Virginia Theatre. tickets are $12. opened first, and then individual www.thevirginia.org, by calling • Festival passes and tickets ticket holders shortly thereafter. 217-356-9063, or by visiting SOLD OUT FILMS are available at The Virginia • Seating for each film will begin the theatre’s box office at 203 Theatre, 217-356-9063 or approximately 30 minutes before West Park Avenue, Champaign, If you want to see a film that www.thevirginia.org. each screening time. Seating is IL 61820. Please note that is sold out, go to The Virginia • All the films are screened at the general admission only. NOTE: the Virginia’s mezzanine and Theatre box office 30 minutes historic Virginia Theatre, 203 W. Some seats will be reserved for upper balcony seating are still before the screening time and Park Ave., Champaign, IL. special guests of the Festival. accessible only via stairs. wait in the rush ticket line. Please respect the designated • The theatre also features a Shortly before the film begins, PANEL DISCUSSIONS areas. wheelchair lift for guests any empty seats will be sold on • Only Festival passholders are accessing the stage from the a first-come, first-served basis. Panel discussions will be held at allowed in the theatre between auditorium, a LULA (Limited NOTE: At every festival since 2002, the Illini Union, 1401 W. Green screenings. Please wear and Use Limited Access) elevator all patrons waiting in line for St., Urbana, IL in the Pine Lounge have your pass visible at all allowing access from the stage tickets for sold out films were able on the 1st floor. times! Festival staff will be to the downstairs dressing to get in. • Thursday, April 16, 2015 checking for them. rooms, and an elevator allowing • Friday, April 17, 2015 • A Festival pass guarantees access to the building’s upstairs TICKET POLICY • Saturday, April 18, 2015 seating to all 12 screenings. lobby and restrooms. Shortly before each film begins, • The Virginia Theatre offers The number of Festival passes any empty seats will be sold to complimentary assisted sold is limited to 1,000. An DIRECTIONS individual ticket holders waiting listening devices, available additional 500 seats are reserved How to get to the Illini Union in line. Latecomers cannot be upon request. Devices come for individual ticket holders and from The Virginia Theatre guaranteed admittance. NOTE: with an ear bud, ear speaker sponsors. We want to make sure • Turn RIGHT (south) onto N. Neil Passholders — please arrive 15 or neck loop and can be used that everyone who wants to Street minutes before each screening. to enhance the enjoyment of attend the Festival — be it for • Turn LEFT onto E. Springfiled Ave. • Passes and tickets cannot be movies, spoken word events one film or all of them — can be • Turn RIGHT onto S. Wright Street exchanged, and no refunds can and live performances. Visit accommodated. • Turn LEFT onto W. Green Street be issued. the Virginia Theatre Box Office • The Illini Union will be on the • Smoking is prohibited in The before to pick up NO RECORDING, RIGHT. Virginia Theatre. an assisted listening device. • The newly-restored Virginia A driver’s license, credit card PLEASE Theatre has updated all of its or other valid form of ID is Copyright law strictly prohibits the FESTIVAL UPDATES restrooms to be ADA-compliant required. use of any type of unauthorized Updated schedules and information and now includes transfer • NO OUTSIDE FOOD OR DRINk video or sound recording will be posted on the festival’s seating on both levels plus allowed inside the Virginia equipment. website: www.ebertfest.com. wheelchair-accessible seating Theatre at any time. on the auditorium’s main

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 19 20 17th Annual Roger Ebert’s Film Festival Dining tis Festival Restaurant Sponsors

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 21 oralaios o al Ror rs ilm sial rsid ad rs Ror asr

22 17th Annual Roger Ebert’s Film Festival Fater daugter volunteer time at ertest By Susan Szuch, The Daily Illini

or Jessica Elliott, a “When I left the College Fsophomore in FAA, April of Media, I knew Mary Susan “There’s so many people that Roger’s name not only brings the end of the (Britt) pretty well, and I just school year, but also a family helped her with hosting,” Ray has been able to pull in here, and that’s tradition: volunteering at said. “It’s a trip, man. It’s a lot Ebertfest. of fun, you see a lot of good something that I set aside a week, Since childhood, her father, movies and meet a lot of nice five days, every year to be a part of.” Ray, has been showing film people, and it’s just a really festival guests around the nice thing for the community community. and the University of Illinois.” something that I set aside a locally that are involved. I “My dad’s been doing it since Some of the people Ray has week, five days, every year to think Ebertfest is a really cool I can remember, and it was just had the opportunity to host be a part of,” Ray said. way of saying, ‘Champaign- this big event every spring,” include Steve James, who While his daughter agrees, Urbana is in the game, we have Jessica said. “I didn’t realize produced the documentary she also feels that the people contributions to make.’” what a big deal they were, that “Life Itself” on Roger Ebert, from Champaign-Urbana are Though he’s been hosting was always really cool, and I as well as , a part of what make the festival guests since he began remember Roger (Ebert) as well.” cinematographer, and Kaylie successful. volunteering, one of the things Ray, who retired from Jones, the daughter of “I guess Ebertfest is kind of Ray enjoys most about the teaching English and American author James Jones. a showcase of all the talent festival is that the community journalism at Urbana High Since the festival draws guests that we have here because gets to have a similar School to teach journalism at from all over and brings so it’s so cool that we can bring experience that he does in the University of Illinois, has much to Champaign-Urbana, people in and mesh ideas interacting with the guests. been volunteering for Eberfest Ray said he always makes sure from all over the world with “What I like about it is that for over a decade. Prior to that, he has time to contribute to it. people in Champaign-Urbana,” I’ve been to other festivals and he covered the festival for “There’s been so many people Jessica said. “There’s so many other events where people are the College of Media’s Alumni that Roger’s name has been people that we bring in, but sort of separated,” Ray said. publication. able to pull in here, and that’s there’s also so many people “This one, the actors, actresses, directors (and) producers walk out of the theatre between movies and intermingle with the community and talk with them. It’s just a nice thing that Roger set up and it really adds to his legacy of what he’s done for the film industry.” For Jessica, growing up volunteering at Ebertfest played a large part in preparing her to change her major from journalism to theatre. “To be able to talk to people who have that mindset and who approach film from the director’s standpoint, I think that definitely influenced my decision to change,” she said. “Because I saw the potential that it had, that you could create something from nothing and that you could tell a story to people and it can mean so Ray Elliott poses with his daughter, Jessica. The Elliotts have been volunteering at Ebertfest for over a decade. many different people.”

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24 17th Annual Roger Ebert’s Film Festival ss A warm welcome to our Special Festival Guests

he following are invited Harold Ramis position with producers Jon Peters Picture Arts and Sciences. and Barbra Streisand. In his His most recent and perhaps special guests for the Tribute first year, he was sent to Florida proudest production is the Wednesday, April 15, 9:30 p.m. to work with Harold Ramis on Academy Award® nominated festival. As always, their Caddyshack, Harold’s directorial documentary, Glen Campbell: debut. Trevor and Harold instantly I’ll Be Me, which follows the attendance is contingent HAROLD RAMIS was a screenwriter, director and actor developed a great rapport based iconic musician Campbell on on factors over which we whose films include some of the on their mutual love of laughter his unprecedented tour across most popular and influential and movies. America, after being diagnosed have little control, such as comedies of our time--Animal When Albert agreed to be the with Alzheimer’s disease. Richard House, Caddyshack, Stripes, gopher puppet in several scenes Roeper called it “one of the unforeseen changes in their National Lampoon’s Vacation, on the golf course, a professional most remarkable documentaries Ghostbusters, Back to School, relationship was cemented that in recent years.” It is currently work schedule. But we hope Groundhog Day, Multiplicity, would last for over 20 years. screening in cities around the US , Bedazzled, Analyze Together they made a series of and Canada and will have its TV that most, if not all, will be That, and Year very successful comedies including premier on CNN in June. with us — plus additional One. Having received his BA National Lampoon’s Vacation with from Washington University in Chevy Chase, with LAUREL WARD is an accomplished surprise last-minute guests. St. Louis, Mr. Ramis was awarded and Peter O’Toole, film producer and creative talent honorary Doctorates in Arts from Groundhog Day with who has compiled an impressive both Columbia College Chicago and Andie McDowell, Multiplicity list of credits in her nearly 20 and Washington University, and with Michael Keaton and Andie years of filmmaking. For more was a former member of the McDowell, than 15 years, Ward worked side Washington University Board of with Al Franken and Bedazzled, by side with the legendary writer/ Trustees. Among his numerous starring Brendan Fraser and director Harold Ramis, serving as professional honors and awards, Elizabeth Hurley. Vice President of Development Mr. Ramis was the recipient of After many years in Hollywood, for Ramis’ Ocean Pictures and the American Comedy Award, the Ramis and his family decided collaborating with him on 5 British Comedy Award, and the to move back to his hometown feature films and several TV BAFTA (British Academy) award of Chicago, and Albert stayed pilots. She served as Associate for screenwriting (Groundhog Day) in LA and started a new film Producer on both The Ice Harvest Goodbye to and The Just for Laughs Lifetime company. Having worked for many and starring Robert Language Achievement Award. Four of years exclusively in the world DeNiro and Billy Crystal. Ward also his films were listed among the of comedy, Albert decided to played a key role in the making of Wednesday, April 15, 7:00 p.m. American Film Institutes’ “100 venture into the world of graphic Ocean Pictures’ Analyze This and Funniest Movies” and Groundhog novels, producing The League of Bedazzled. Most recently, Ward HELOISE GODET (actor) trained at Day was named as one of the Extraordinary Gentlemen starring was the co-producer on Year One the International Theater School “101 Greatest Screenplays” by Sean Connery. Following that he starring and Michael Jacques Lecoq in Paris. Her first the Writers Guild of America. produced The First Twenty Million Cera. lead role came about with Jean- Mr. Ramis also directed several is The Hardest based on the novel Ward began her film career in Luc Godard’s Goodbye to Language, episodes of television’s acclaimed by Pro Bronson, starring Rosario 1994 at Hughes Entertainment winner ex-aequo of the Jury prize series The Office. Dawson, and then the classic working with writer/director at Cannes 2014. children’s film Because of Winn- John Hughes. She worked as a In 2010 she starred in the ERICA RAMIS Dixie based on the Newbery award production associate on such Talents Cannes entry N’oubliez winning book by Kate DiCamillo, feature films as Miracle on 34th pas Roger by Etienne Labroue, TREVOR ALBERT started his starring Cicely Tyson, , Street, Reach the Rock, Flubber and since then has appeared in journey as a communications and Eve Marie Saint, Dave Matthews and Home Alone 3. numerous short films. At the same film major at UC San Diego and and Anna Sophia Robb and then Ward, who studied political time Heloïse has continued to act worked his way through college the independent film Waiting For philosophy at Michigan State both on television and on stage. as a journalist for the San Diego Forever, starring Richard Jenkins, University, is an active member Reader. Upon graduation, he Blythe Danner and Rachel Bilson. of the IFP/Chicago Board of moved up the coast to Gratified to make films that Directors. She is currently working pursue a film career in LA. After are entertaining, sometimes on several creative projects for working as a film researcher at intelligent and occasionally both cinema and TV. Universal Pictures and Warner inspiring, Albert is a distinguished Brothers, he accepted a full-time member of the Academy of Motion continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 25 A Pigeon Sat on a (selected by Alison Bechdel for “The Best American Comics 2011”) Branch Reflecting and directed the upcoming on Existence feature, The End of the Tour (which premiered at Sundance Thursday, April 16, 1:00 p.m. 2015 to amazing reviews and will be released on July 31, 2015 by JOHAN CARLSSON (producer) A24). was born in Umeå, Sweden in 1967 and went to Skurups School JASON SEGEL (actor) stars in of Film and TV 1989-1990. James Ponsoldt’s dramatic biopic He has worked at Roy The End of the Tour, as writer Andersson Filmproduktion since David Foster Wallace, opposite 1990, as production manager, Jesse Eisenberg. The film assistant director and currently as recounts magazine reporter David a line producer. His credits include Lipsky’s (Eisenberg’s) travels and World of Glory (1991), Songs from conversations with Wallace during the Second Floor (2000), You, the a promotional book tour. Living (2007) and A Pigeon Sat on Segel was recently seen in Cobalt Digital a Branch Reflecting on Existence Jake Kasdan’s Sex Tape for Sony congratulates (2014). He has also directed Pictures. Segel starred with short films, commercials and a Cameron Diaz in Kasdan’s Bad Ebertfest on documentary, Tomorrow is Another Teacher, which made over $200 Day (2011). 17 years in million worldwide. Segel landed his first major Champaign- leading role as Peter in Nicholas Moving Midway Stoller’s Forgetting Sarah Marshall, Urbana! which he also wrote. The film was Thursday, April 16, 4:00 p.m. released in 2008 by Universal Pictures and made over $100 GODFREY CHESHIRE (writer/ Proud supporters million worldwide. Segel wrote director/ producer) is an award- of Ebertfest a Dracula musical performed by winning film critic, journalist, puppets, which was a personal screenwriter and filmmaker based idea and passion he incorporated in . His writings on into the film, emboldening film have appeared in publications him to pitch his concept for a including , Muppets movie. He and Stoller Variety, Newsweek, The Village signed with Disney to write The Joseph Kuhn Voice, Interview, , Muppets, which made over $150 Sight & Sound and Cineaste. He million worldwide. Additionally, currently writes for RogerEbert. & Co. the film won an Academy Award® com. in 2012 for Best Original Song for His first film as writer-director, “Man or Muppet,” written by Bret a documentary titled Moving McKenzie and performed by Segel. Midway, was named one of the Segel and Stoller collaborated 2008 10 best films by the LA in 2010 to write and co-produce Weekly and New York Magazine. the film Get Him to the Greek, He is a member of the National a spin-off of Forgetting Sarah Society of Film Critics and a Marshall. The film grossed over former chairman of the New York $90 million worldwide and won Film Critics Circle. the Teen Choice Award for Choice Movie: Comedy. ALL SUITS In 2012, he starred in Judd $100 OFF End of the Tour Apatow’s This Is 40, which Thursday, April 16, 8:30 p.m. expands on the story of Knocked Reg Price From Up and was nominated for a 2013 $300 to $795 JAMES PONSOLDT (director) is a Critics’ Choice Award for Best filmmaker originally from Athens, Comedy Movie. Store hours Georgia. His films, which include Segel’s other film credits Mon, Wed, urs, Sat: 10-6 Off the Black, Smashed and The include: The Five-Year Engagement, I Love You, Man, 2 weeks only!Tues, Fri: 10-8 Spectacular Now, have won prizes at Sundance, been nominated for Jeff Who Lives at Home, Gulliver’s Independent Spirit Awards, and Travels, Despicable Me, Slackers, honored by the National Board The New Jersey Turnpikes, S.L.C. of Review. Ponsoldt co-wrote the Punk, Can’t Hardly Wait and Dead Located at 33 E Main St, Champaign graphic novel, Refresh, Refresh Man on Campus, among others. (217) 352-7666

26 17th Annual Roger Ebert’s Film Festival On TV, Segel starred as Marshall symphony. The group can make on the CBS hit comedy series the audience think it is being How I Met Your Mother which, in attacked by tigers, contacted by its 9-season run was nominated radio signals from Mars or swept for an Emmy® for Outstanding up in the Russian Revolution. Comedy Series, a People’s Choice Terry Donahue (junk percussion, Award for Favorite TV Comedy and accordion, musical saw and a Teen Choice Award for Choice TV banjo), Roger Miller (synthesizer, Show: Comedy. He also starred in percussion) and Ken Winokur Apatow’s Emmy® nominated TV (director, junk percussion and series Freaks and Geeks for NBC clarinet). as well as Apatow’s Undeclared for Fox. In addition to his work in TV and film, Segel made his debut A Bronx Tale as a children’s book author Friday, April 17, 8:30 p.m. with Nightmares!, published by Random House and co-written CHAZZ PALMINTERI (writer/ by Kirsten Miller. The first actor) Bronx-born and raised, installment of his middle-grade continues the long line of trilogy was released in 2014 and prominent Italian actors in the debuted at #2 on the NYTimes film industry, started in the Bestseller List. The second book, 1970s by such icons as director Nightmares: The Sleepwalker Tonic, Martin Scorsese and actors Robert will be published in September DeNiro, and . 2015. Palminteri has brought grit, muscle and an evocative realism to the sidewalks of his New York voted best place for a fi rst date FOUR neighborhood, violent as they are years in a row by Buzz Magazine Girlhood and were. Friday, April 17, 1:00 p.m. Born in 1952, Palminteri grew 119 N. Walnut Street, Champaign, IL 61820 | (217) 398-7729 up in a tough area of and it gave young Calogero (Palminteri’s given first name) The Son of the the life lessons that would later Sheik prove very useful to his career. Friday, April 17, 4:00 p.m. He started out pursuing his craft Great to be Back for the in studying at the Actor’s Studio th ALLOY ORCHESTRA is a three-man with Lee Strasberg. He appeared 17 Annual musical ensemble, writing and off-Broadway in the early 1980s performing live accompaniment while paying his dues as a singer to classic silent films. Working in his own band. with an outrageous assemblage of Well known for A Bronx Tale, Ebertfest peculiar objects, they thrash and Palminteri originally wrote the grind soulful music from unlikely script for the stage and performed Representing sources. Performing at prestigious it as a one-man show in LA. It film festivals and cultural centers became the hottest property in in the US and abroad (The Hollywood since Rocky. Palminteri Telluride Film Festival, The Louvre, was offered over a million to walk Lincoln Center, The Academy of away from the project, but with Motion Pictures Arts and Sciences, only $200 left in the bank, he the National Gallery of Art and refused. He wanted to play Sonny others), the Alloy Orchestra has and write the screenplay. One helped revive some of the great night DeNiro walked in to see masterpieces of the silent era. the show and, as they say, ‘the An unusual combination of rest is history.’ He then moved found percussion and state-of- the production to New York, the-art electronics gives the where it played for four sold-out Orchestra the ability to create months and earned him New York any sound imaginable. Utilizing Outer Critics Circle nominations Don Tingle their famous “rack of junk” and for for both acting and writing. Proud Ebertfest Sponsor for 12 years electronic synthesizers, the group While in New York, he completed the screenplay of A Bronx Tale Director, Rocket City Short Film Festival generates beautiful music in a Workshop Director, Alabama Filmmakers Co-op spectacular variety of styles. They and soon found himself starring A non-profit volunteer community organization since 1977 can conjure up a simple German opposite DeNiro, who chose the bar band of the 1920s or a French continued on next page For Information Contact: [email protected]

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 27 “I am, beneath everything else, a fan. I was fixed in this mode as a young boy and am awed by people who take the risks of performance.”

— Roger Ebert

When it comes to talking about film, no one has ever been more eloquent and honest than Roger.

Here’s to being a fan of great movies.

Congratulations to Ebertfest!

OFFICE OF THE CHANCELLOR UNIVERSITY OF ILLINOIS URBANA-CHAMPAIGN

28 17th Annual Roger Ebert’s Film Festival script for his directorial debut. to produce Ross’ directorial debut, Palminteri has appeared in Pleasantville. more than 50 movies including In 2000, Kilik produced Julian , Academy- Schnabel’s Before Night Falls, Award ® nominated Bullets Over starring , and Broadway, Analyze This, Hurlyburly, winner of the Grand Jury Prize Mulholland Falls, Faithful (also as and Best Actor awards at the co-writer), Poolhall Junkies, The Venice Film Festival. Also in Perez Family, Jade, Diabolique, 2000, Kilik produced ’ Down to Earth and A Guide to directorial debut, Pollock. Ed Recognizing Your Saints. Recent Harris and Javier Bardem were films include Final Recourse, each nominated for the Best Actor Mighty Fine (starring Andie Oscar® at the 2001 Academy MacDowell), Yonkers Joe, Jolene Awards®. and The Dukes. Next, Kilik traveled to the Pine His TV credits include directing Ridge Indian Reservation where he for the HBO series Oz, Showtime’s produced Skins, directed by Chris Women vs. Men and the feature Eyre, and featuring Graham Greene film Noel, starring , as a Native American who returns Penelope Cruz, Robin Williams and home from service in Viet Nam. Paul Walker. He appeared on the In 2004, Kilik produced Oliver New York stage in The Resistible Stone’s Alexander. He returned to Rise of Arturo Ui with Al Pacino, New York in 2005 to produce Jim , Jarmusch’s very personal Broken and . Palminteri is Flowers, winner of the Cannes Film a member of the Actors Studio Festival Grand Jury Prize. in NYC. He received the 1996 Kilik then partnered with Leadership in Entertainment Alejandro Gonzalez Iñarritu to Award from the Coalition of Italo- produce Babel, which was shot American Association, and was in Morocco, Mexico and Japan, honored by President Clinton with involving 4 uniquely interwoven a Special Achievement Award stories in Arabic, Spanish, English for the Performing Arts from and Japanese. Babel won the Best the National Italian American Director prize at Cannes 2006, a Foundation in Washington DC. Golden Globe® for Best Feature Palminteri resides in Film Drama, and was nominated Westchester County with his for 7 Academy Awards®, including inpepetheretheirete lovely wife, Gianna, and their two Best Picture. In 2007 Kilik icerieterii children, Dante and Gabriella. produced Julian Schnabel’s The Diving Bell and the Butterfly, JON KILIK (producer) is one of winning his second Golden New York’s premier film producers, Globe® and 4 Academy Awards® collaborating with a wide range nominations. Next Kilik produced of auteur directors to create a Iñarritu’s Biutiful, starring body of work with an emphasis on Bardem, which was nominated for human values and social issues. 2 Academy Awards®. Kilik spent In 1988, Kilik began his 8 years developing collaboration with with . The film was and has gone on to produce 14 released in 2014 and received 5 of Lee’s films, including He Got Academy Award® nominations. Game, Clockers, , and Kilik is currently in production the groundbreaking Do The Right on ’ The Free State Thing, which was recently selected of Jones starring Matthew by The Smithsonian Institute for McConoughey, as well as The The National Film Archives. Hunger Games: Mockingjay Part 2, Kilik also produced Robert De the eagerly anticipated fourth film Niro’s highly acclaimed directorial in the beloved franchise. Kilik debut, A Bronx Tale, based on the has been with the series from the play by Chazz Palminteri. beginning, having produced The In 1995, Kilik produced Tim Hunger Games, The Hunger Games: Robbins’ Academy Award® winner, Catching Fire and The Hunger Dead Man Walking, starring Susan Games: Mockingjay Part 1. Sarandon and Sean Penn. The Kilik was born in Newark, New same year he produced Julian Jersey and grew up in Millburn. Schnabel’s directorial debut, He graduated from the University Basquiat. Next, he teamed with eir Ad courtesy of Lex Tate Gary Ross and continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 29 of Vermont and moved to New (John Requa and Glenn Ficarra). York in 1979 to pursue a career Currently he is on the staff at in filmmaking. He returned to his K&S Films, where he works on Vermont alma mater to receive an the development and releasing Everything for the wine lover in your life! honorary doctorate and deliver of projects. Among these, the the commencement address to the company is now working on class of 2003. Pablo Trapero’s new feature The A family owned & operated shop Clan, where he’s also the Casting combining the concepts of Retail, Wine Bar Café & Gourmet Deli, Director. Sun Singer offers over 30 wines Wild Tales by the glass from around the world Saturday, April 18, 11:00 a.m. along with a full service bar Ida with an extensive array of fine JULIETA ZYLBERBERG (actor) is Saturday, April 18, 2:00 p.m. liquors, import and craft beers. an Argentine actress. She started her career in TVs ground-breaking

. comedy Magazine for Fai, and by 1994 had appeared in some of The Motel Life Argentina’s biggest prime-time Saturday, April 18, 5:00 p.m. TV shows. She has also regularly appeared on stage, most notably ALAN POLSKY (director) and his performing as Ivy in Tracy Letts’ brother Gabe have secured the August: Osage County, in which rights to an array of profound and she worked with Norma Aleandro edgy literary material, creating and Mercedes Morán. quality films characterized by Zylberberg’s first movie role, both intelligence and commercial awarded by the prestigious appeal, since launching Polsky

. Films. M-Th 10/11pm F-Sat 10/12am Sun 10:30/8pm director Lucrecia Martel, was in La Niña Santa (The Holy Girl). Their directorial debut, The 217-351-1115 She subsequently participated Motel Life, based on Willy Vlautin’s novel, starring Dakota 1115 W Windsor Road, Champaign, IL in projects such as The Invisible Eye (Diego Lerman), A Boyfriend Fanning, , Emile www.sunsingerwines.com Cafe Wine Bar Gourmet Deli For My Wife (Juan Taratuto), Los Hirsch and Stephen Dorff, is one Marziano (Ana Katz), El 5 de such example. Talleres (Adrián Biniez) and Wild Other Polsky Films projects Tales by Damián Szifron. include His Way, an Emmy®- In 2015 she will star in Daniel nominated documentary about Burman’s El Rey Del Once by and the prolific film and music Ana Katz’ Mi Amiga Del Parque, as producer , well as the TV series Los 7 Locos, premiered by HBO in 2011. based on the novel by Roberto They also produced Little Birds, Arlt. directed by Elgin James and starring Juno Temple, Kay JAVIER BRAIER (casting Panabaker, Kate Bosworth and director) is an Image and Leslie Mann, which debuted in Sound Design graduate from the competition at Sundance in 2011. University of Buenos Aires. In Polsky Films previously produced his early career he worked as an ’s Bad Lieutenant: AD, primarily in TV commercials. Port of Call New Orleans, named in Starting in 2005, he joined the over 40 top-10 lists for the best casting world with On Probation, films of 2009. Damián Szifron’s second film. The Polskys have also acquired Since then, he has become one the rights to critically acclaimed of the leading casting directors novels Flowers for Algernon by in Argentina, working with such , to be produced at talented people as Armando Bo Sony as a starring vehicle for (The Last Elvis), Héctor Babenco Will Smith; Butcher’s Crossing by (O Pasado), Adrián Caetano John Williams, to be produced at (Crónica De Una Fuga), Martín Focus Features with Sam Mended Rejtman (Two Shot Guns), Pablo attached to direct; Eat the Giorgelli (Las Acacias) and Damián Document by Dana Spiotta, with Szifron (Wild Tales). His reputation Bennett Miller attached to direct; earned him the privilege of and The Master and Margarita by collaborating with international Mikhail Bulgakov. Additionally, projects such as Biutiful they have secured the rights to (Alejandro G. Iñárritu), Rudo y the Estate, and Cursi ( Cuarón) and Focus are partnered with Sean Penn to

30 17th Annual Roger Ebert’s Film Festival produce a biopic on surfing legend 99 Homes Dorian “Doc” Paskowitz and his family, in which Penn will star. Saturday, April 18, 9:00 p.m. Growing up outside Chicago, the brothers’ collaborative and RAMIN BAHRANI (director, co- competitive nature was fostered writer) films have screened at the over their devotion to hockey. Venice, Cannes, Sundance, Berlin Alan worked in investment and Toronto Film Festivals. banking and private equity Bahrani has won numerous before getting his MBA from The awards, including the FIPRESCI University of Chicago Graduate critic’s prize for best film in School of Business. Gabe attended Venice (Goodbye Solo, 2009) and shortly and a Guggenheim Fellowship, after graduating, moved to LA among many others. He has been to work for Mayhem Pictures, the subject of retrospectives in Bullock and Associates Endeavor Talent Agency’s literary venues such as the MoMA in NYC. department, and the Yari Film In 2010 legendary film critic Educational Consulting Group. Roger Ebert proclaimed Bahrani as “the director of the decade.” STEPHEN DORFF (actor) appeared Additional credits include Man as disillusioned Hollywood actor Push Cart (2005), Chop Shop and single father Johnny Marco (2006), Goodbye Solo (2009), in ’s Somewhere, Plastic Bag (short, 2009), At which won a (2012) and Lift You Up the 2010 Venice Film Festival. (short, 2014). In 2009, Dorff teamed with Somewhere producer G. NOAH LOMAX (actor), at only 13 Mac Brown on ’s years old, has appeared on some gangster drama Public Enemies, of TVs hottest projects and has starring opposite already had lead roles in 3 major and . The Atlanta feature films. His feature film debut native has been acting in movies was Playing For Keeps, where he www.schoolplacementsolutions.com for over two decades. In 1990, starred opposite Gerard Butler and Dorff was chosen from 2,000 for director Gabriele actors who auditioned for the Muccino. He was next seen in the lead role in John G. Avildsen’s The film adaptation of Nicholas Sparks’ Power Of One, starring opposite Safe Haven opposite Josh Duhamel, , directed by Lasse Hallstrom. Lomax and Fay Masterson. stars as ’s son In addition to Gabe and in Ramin Bahrani’s indie drama Alan Polsky’s The Motel Life, 99 Homes, also starring Michael Dorff has appeared as “fifth Shannon and Laura Dern. 99 Homes Beatle” Stuart Sutcliffe in Iain premiered at the 2014 Venice Film Softley’s Backbeat, and as cross- Festival, screened at TIFF, Telluride dressing underground movie and Sundance to much critical star in Mary acclaim, and is positioned to Harron’s I Shot . release spring 2015. Other highlights in Dorff’s Lomax’s TV work includes a career include appearances recurring role on AMC’s hit series in ’s Blood And The Walking Dead, and guest Wine, opposite appearances in Bones (Fox), The and ; Stephen Middle (ABC), Mad Love ( CBS), Norrington’s Blade (for and Drop Dead Diva and Army which he won the MTV Movie Wives (Lifetime). Clearly Expressed LLC Award for Best Villain), John Lomax was born in New Clearly Expressed LLC Waters’ Cecil B. DeMented, Lee Orleans, and lived there until Professional writing service Daniels’ Shadowboxer, Oliver Hurricane Katrina, which forced Professional writing service Stone’s World Trade Center, his family to evacuate. They J. Michael Lillich Mike Figgis’Cold Creek Manor, eventually relocated permanently J. Michael Lillich Eran Riklis’ Zaytoun and to Atlanta in 2006. Lomax booked (217) 898-1928 Stone’s Deal, and he recently his first gig when he was seven (217) 898-1928 wrapped Nick Love’s American years old, a guest star role on [email protected] Hero. Dorff was most recently Army Wives, and he was hooked. cast in the Texas Chainsaw His mom notes, “Noah’s first job [email protected] Massacre prequelLeatherface and was a 2-day shoot, and he was so the fantasy family film Albion: Rise Of The Danann. continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 31 devastated when it was over. He Japanese, Korean, Russian and said, ‘I don’t want this to end, can Chinese. Two new books, Monsters we do it again?’ So, his dad and and Angels: Surviving a Career in I decided to let him keep acting, Music and Chopin: Interpreting His Champaign-Urbana Mass Transit District as long as he loves it! Never in Notational Symbols have recently a million years would we have been published by Manduca Music thought Noah would want to be Publishing. Gotta Get There? an actor.” Bernstein studied with such When not working on fi lm and notable musicians as Alexander Let MTD Do the Driving. TV projects, Lomax loves to be Brailowsky, Sir Clifford Curzon, outdoors. He plays 7th grade Jan Gorbaty, Nadia Boulanger and football and is a wide receiver for Georges Enesco. He debuted in his team. A hockey lover, he is a 1969 with the Chicago Symphony huge Chicago Blackhawks fan, as Orchestra, playing the world well as a New Orleans Saints fan. première of Concerto No. 2 frequent service He has a dog named Romeo. by Villa–Lobos. He’s won First On the charity front, he actively Prize and Prix Jacques Durand low fare/free transfers supports Soccer for Hope, a non- at Fontainebleau, the National sat. or sun. all day passes profi t organization that raises Federation of Music Clubs Award awareness and funds for pediatric for Furthering American Music annual/monthly passes available cancer research through soccer Abroad, a Beebe Foundation related activities. Lomax currently grant, 2 Martha Baird Rockefeller user-friendly trip tools splits his time between Atlanta grants and 4 State Department lots of easy-to-use apps and LA, and lives with his mom, grants. Wherever his concert dad, and older sister Maddie. tours took him, he made a point get to sports, shopping & fun! of offering master classes and lecture recitals. When grant money Seymour: An allowed, he fi lled his suitcases with scores to distribute to Introduction teachers and students. Sunday, April 19, 11:00 a.m. One of the most sought–after cumtd.com 217.384.8188 clinicians in this country and SEYMOUR BERNSTEIN (subject, abroad, Bernstein is also a prolifi c pianist, composer, writer, and composer, with many works on the lecturer) [Bio adapted from bestseller list. His compositions the NY Times article “Seymour range from teaching material for Bernstein Triumphs at the Piano” students of all levels to the most by Donal Henahan] sophisticated concert pieces. He Born in Newark, New Jersey, continues to perform as a guest Seymour Bernstein was already artist with chamber ensembles ROGER AND CHAZ teaching piano at the age of 15, and serves regularly on the juries his then teacher, Clara Husserl, of a number of international having arranged for him to competitions. In addition to his supervise the practicing of some piano faculty appointment at NYU THANK YOU for of her gifted younger pupils. Steinhardt, Bernstein maintains He soon had a class of pupils of a private studio in New York City. his own, some of whom are still On December 18, 2004, he was 17 WONDERFUL YEARS studying with him. By age 17, awarded an honorary Doctor of he’d achieved local fame as a Music degree from Shenandoah performer, winning the Griffi th University. Artist Award. Inducted into the Audience and press responses of GREAT FILMS! Army during the Korean War, he to ’s documentary gave concerts on the front lines on Bernstein have eclipsed all and for top military leaders. expectations. Sundance Selects MARSHA CLINARD During this experience, he came purchased the rights to the to understand that he possessed fi lm and released it to theaters and CHARLIE BOAST a missionary zeal, a desire to throughout the US and South bring music’s message to a wider America. audience. Bernstein realized this goal ANDREW HARVEY is Founder through a concert career that and Director of the Institute of took him to Asia, Europe, and Sacred Activism, an international throughout the Americas, and organization. He has taught at with his books With Your Own Oxford and Cornell Universities Two Hands and 20 Lessons in as well as various colleges and Keyboard Choreography, which spiritual centers throughout the have been published in German, world.

32 17th Annual Roger Ebert’s Film Festival 2015 Panelists & North America; and Howards End. His company’s Academy Award® In Time For EBERTFEST 2015 Special Guests nominations resulted in 36 wins (most recently for SIMON ABRAMS is a New York- Best Actress for Still Alice, and The Conservatory of based film critic and regular J.K. Simmons for Best Supporting contributor to the Village Voice, Actor for Whiplash), including five Central Illinois Esquire, Vulture, and other outlets. for Best Documentary Feature, Recently, Simon introduced a most recently for Searching For “The Community Music School” screening of Walerian Borowczyk's Sugarman, Inside Job and Fog Blanche (1971) at Lincoln Center. Of War, and 12 for Best Foreign PRESENTS He's currently working on a non- Language Film, which include fiction book on a history of gore Babette’s Feast, All About My The 25th Annual Playathon and the exploitation of violence Mother, The Lives Of Others, A An entire day of musical performances to raise on film. Separation and Amour. Other funds to continue The Conservatory’s Mission of notable award wins include 41 providing quality, accessible musical education DAN ARONSON has been at the Independent Spirit Awards and 22 to students of all ages in East Central Illinois. forefront of technology since Golden Globe® Awards. the 1980s, when he began Barker has collaborated April 18, 2015 10:30am- 5pm building supercomputers at with some of the world’s finest Thinking Machines Corporation. filmmakers, including Woody Dan co-founded Fandor, a Allen, Pedro Almodovar, Louis subscription-based streaming Malle, and Zhang Yimou, all The Conservatory of Central Illinois site for independent and foreign of whom he’s worked with on Piano Strings Woodwinds cinema, to take advantage of the multiple occasions, as well as Brass Voice Jazz Percussion distribution opportunities of the , Michelangelo Guitar Youth Orchestra Band internet as a platform to better Antonioni, Suzanne Bier, Ingmar Pre-School Through Adult connect great films with people Bergman, Francis Coppola, David Early Childhood Music who want to see them. Prior Cronenberg, , Outreach Programs Available to founding Fandor, he was an the , Jonathan early employee at WAIS, the first Demme, R W Fassbinder, Michael 116 N. Chestnut St., Suite 310 Champaign, IL 61820 internet search engine company, Haneke, Nicole Holofcener, Akira and went on to help manage AOL’s Kurosawa, , Ang 217-356-9812 conservatorycentralil.org servers following its acquisition of Lee, , David WAIS. Dan co-founded anti-spam Mamet, , Roman company Brightmail and internet Polanski, , Francois incubator Campsix. He has served Truffaut and Wim Wenders. on the boards of City Car Share Over the years, Barker has and networked music player released features from American company Slim Devices. masters (Only Lovers Left Alive, Ebertfest , Sweet MICHAEL BARKER, as Co- And Lowdown) and new American President and Co-Founder of filmmakers (, Pollock, Sony Pictures Classics (with Tom Slacker, Welcome To The Dollhouse, Bernard), which celebrated its ); cutting edge films 20th anniversary in 2012, has (Kung Fu Hustle, Moon, Orlando, distributed (and quite often Run Lola Run, The Raid); animated produced), some of the finest features (The Triplets Of Bellville, independent movies over the past Persepolis, ); 30 years. Previously he was an feature documentaries (Dogtown executive at (1980- And The Z Boys, Crumb, Winged 1983) and went on to co-found Migration, It Might Get Loud, The Orion Classics (1983-1991) and Gateeepers, Tim’s Vermeer, The Sony Pictures Classics. Armstrong Lie) and foreign films Over the span of his career, (Ran, A Prophet, White Ribbon, Barker’s films have received 158 Talk To Her, Central Station, Wings Academy Award® nominations Of Desire). including several for Best Picture: He and his colleagues have also Whiplash, Amour; Midnight restored and theatrically reissued in Paris, ’s most some of the great films of the successful film of all time; An past, including The Passenger, Education; Capote, for which The Garden Of The Finzi Continis, won Murmur Of The Heart, and the the Academy Award® for Best classic films by Indian master Actor; Crouching Tiger, Hidden Satyajit Ray. Roger’s enduring legacy Dragon, recognized as the highest grossing foreign film of all time in continued on next page Chuck and Eileen

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 33 Sony Pictures Classics most SCOTT FOUNDAS is the Chief Film recently released Still Alice Critic for Variety. Prior to joining ( and Wash Variety, he was Chief Film Critic Westmoreland), Mr. Turner for the LA Weekly and The Village (Mike Leigh), Leviathan (Andrey Voice, in addition to which his Zvyagintsev), Foxcatcher (Bennett writing on film has appeared in Miller), Whiplash (Damien the DGA Quarterly, Film Comment, Chazelle), Red Army (Gabe Polsky) Slate and The New York Times. and Wild Tales (Damián Szifrón). In 2010, he was named Critic Upcoming releases include of the Year at the LA Press The Salt Of The Earth (Wim Club’s National Entertainment Wenders and Juliano Ribeiro Journalism Awards. In 2013, a Salgado), Infinitely Polar Bear Spanish-language collection of his (Maya Forbes), Lambert & Stamp writing entitled Time Stopped was (James D. Cooper), Saint Laurent published by the Mar Del Plata (Bertrand Bonello), Jimmy’s Hall Film Festival in Argentina. As a (Ken Loach), Grandma (Paul programmer, Foundas spent Weitz) and The Diary of a Teenage as a member of the New York Film Girl (Marielle Heller). Festival selection committee and three years as Associate Program JASON BRETT is a creative Director for the Film Society of entrepreneur whose career spans Lincoln Center. In addition, he has theater, film, TV and technology. been a programming consultant He founded Chicago’s famed Apollo to the Cannes and Telluride film Theater, home to Chicago’s longest festivals and the film department running hit musical, Million Dollar of the Walker Art Center. Quartet, and has produced dozens of theatrical productions featuring SAM FRAGOSO, a native of , , Jim Chicago, currently lives and works Belushi, William H. Macy, Laurie in San Francisco as a journalist Metcalfe, Gary Sinise, Jeff Perry, and student at SF State University. Megan Mullalley and William He’s the founder of Movie Peterson. He has created and Mezzanine, a regular contributor written dozens of TV series and at Forbes, and a member of the produced the classic film comedy, SFFCC. His work has appeared in About Last Night. The Atlantic, Playboy, The Daily As an entertainment executive, Beast, Vulture, , Jason launched the scripted Interview Magazine, VICE and, of series division of Oprah Winfrey’s course, RogerEbert.com. Harpo Television, and headed up the film and TV division of is the editor of America’s legendary comedy A Galaxy Not So Far Away: Wrters theater, The Second City. Moving and Artists On 25 Years of ‘Star into technology, Jason founded Wars’ (Holt, 2002) and the author MashPlant, a multi-media sharing of : Anatomy of An platform that builds community Actor (Phaidon/Cahiers du Cinema, around learning, now used in 2014). His writings on the arts hundreds of classrooms worldwide. have appeared in a wide variety Jason holds a BFA in Theater of publications, which include the from the University of Illinois, New York Times, the Los Angeles is an avid pilot and a lifelong Times, , the Village musician. He is married to Voice, , physician and author, Dr. Lauren Humanities, and others. From Streicher. the mid-1990s to the magazine’s 2007 folding, he was a senior MATT FAGERHOLM has been editor and the chief film critic for covering the film beat in Chicago Premiere. There he commissioned for the last nine years, writing film and edited pieces by David Foster reviews and conducting interviews Wallace, Tony Kushner, Martin for a variety of outlets including Amis, William Prochnau, and other Time Out Chicago, The A.V. Club well-regarded writers. He also and HollywoodChicago.com. He is wrote early features on such soon- an employee of The Ebert Company to-be-prominent motion picture and publisher of the independent figures as film blog, Indie-Outlook.com. and . He currently contributes film reviews

34 17th Annual Roger Ebert’s Film Festival and essays to RogerEbert.com NELL MINOW began reviewing and to Vanity Fair Online, Decider, movies for her high school and website, college newspapers and has and other outlets. He has made been writing reviews online as numerous television and radio the Movie Mom since 1995. Her appearances and appears as an website Movie Mom includes actor in Steven Soderbergh’s 2009 reviews of theatrical and DVD/Blu- film The Girlfriend Experience, and Ray releases as well as features, Preston Miller’s 2010 God’s Land. interviews, and contests, and He was born in Fort Lee, New she appears each week on radio Jersey and has been a resident of stations across the country and since 1990; he lives in Huffington Post to talk about new that borough with his wife. releases. Her writing about movies and popular culture has appeared LEONARD MALTIN is one of the in many outlets, including world’s most respected film critics RogerEbert.com, USA Today, the and historians. He is best known Chicago Tribune, the Chicago Sun- for his widely-used reference work Times, the Kansas City Star, and Leonard Maltin’s Movie Guide and the Motion Picture Association’s its companion volume Leonard thecredits.org. Her books include Maltin’s Classic Movie Guide, as The Movie Mom’s Guide to Family well as his 30-year run on TV’s Movies, 101 Must-See Movie Entertainment Tonight. He teaches Moments, and the 50 Must-See at the USC School of Cinematic Movies series. Arts and appears regularly on the Reelz Channel. OMER MOZAFFAR is the Muslim His books include The 151 Chaplain at Loyola University. A Best Movies You’ve Never Seen, scholar of religion, he received Of Mice and Magic: A History of an “Excellence in Teaching American Animated Cartoons, Award in the Humanities, Arts, The Great Movie Comedians, and Sciences” in 2011 from The Disney Films, The Art of the the University of Chicago’s Cinematographer, Movie Comedy Graham School. He also teaches Teams, The Great American at DePaul and other Chicago Broadcast, and Leonard Maltin’s area institutions, academic and Movie Encyclopedia. confessional. In 2009, Roger He served two terms as named him as one of his Far Flung President of the LA Film Critics Correspondents. Omer misses Association, is a voting member Roger tremendously. “HOW A GUITAR of the , and SHOP SHOULD BE.” was appointed by the Librarian SHEILA O’MALLEY received a BFA of Congress to sit on the Board in Theatre from the University - JOEL K. of Directors of the National Film of Rhode Island and a Master’s “LOVE THESE Preservation Foundation. in Acting from the Actors Studio He hosted and co-produced MFA Program. She is a regular film GUYS!” the popular Walt Disney Treasures critic for Rogerebert.com, and - DIANA I. DVD series and has appeared has also contributed reviews and on innumerable television essays to The Dissolve, Fandor, programs and documentaries. He Bright Wall/Dark Room, Capital has received numerous awards New York, Movie Mezzanine, The from the American Society of Sewanee Review and Press Play. Cinematographers, the Telluride Her video on the work of Film Festival, was included in Archives, and San Diego’s Comic- the Criterion Collection’s release of Con International. Perhaps the John Cassavetes’ Love Streams. Her pinnacle of his career was his script July and Half of August was appearance in a now-classic recently shot as a short film, episode of South Park. (Or was it starring Annika Marks and Robert Carmela consulting his Movie Guide Baker. O’Malley writes about on an episode of ?) actors, movies, books, and Elvis He holds court at Presley at her personal site, The leonardmaltin.com. Follow him Sheila Variations. 217.607.8132 on and Facebook; you can WWW.THEUPPERBOUT.COM also listen to him on his weekly podcast: Maltin on Movies with 723 S NEIL ST; CHAMPAIGN, IL 61820 Baron Vaughn. continued on next page OPEN MON-SAT: 11AM-7PM

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 35 MICHAEL PHILLIPS is the Chicago Awards and The National Board Tribune film critic. He cohosted of Review. Zak also received 100 or so episodes of the long- an the Producer’s Guild award running nationally syndicated At for Outstanding Producer of a the Movies, first opposite Richard Documentary. Thanks Chaz! Roeper, then A.O. Scott. He Previously, Zak co-produced reviewed for his high The Interrupters, which premiered school paper, The Shield. He went at Sundance and was released – Marsha on to write about movies for the in the US, Canada and the UK, Twin Cities weekly City Pages. He culminating in TV broadcasts served as theater critic of the on PBS Frontline, BBC Storyville, , the San Diego Canal+, and the CBC. The film Union-Tribune, the Dallas Times- received a 2012 Spirit Award Herald and the St. Paul Pioneer for Best Documentary and was Press. He came to the Tribune as awarded Best Documentary by the its drama critic in 2002 before Chicago Film Critics Association. being named film critic in 2006. , Chicago Tribune, He has hosted programming for Entertainment Weekly, and LA . He lives Times all hailed The Interrupters in Logan Square with his wife, as one of the year’s best films. Tribune columnist Heidi Stevens, He is currently directing his and their three children. He’s also first feature documentary, set for happy and honored to be back at completion in 2017. Ebertfest. TODD RENDLEMAN is Professor ERIC PIERSON is an associate of Communication Studies at professor and former chair of Seattle Pacific University, where the Communication Studies he teaches film art, history and Department at the University criticism. He is the author of Rule of San Diego. His work on of Thumb: Ebert at the Movies black images and audiences has (Bloomsbury, 2012) and he lives appeared the Encyclopedia of in Seattle. African American Business History, Screening Noir, the Encyclopedia of RICHARD ROEPER is a columnist the Great Black Migration, Journal and film critic for theChicago Sun- of Mass Media Ethics and Watching Times. His reviews are syndicated While Black: Centering the to more than 100 newspapers in Television of Black Audiences. His the . He has hosted most recent work, “The Clinton 12” radio shows on WLUP-FM, WLS-FM and “Prom Night in Mississippi: and WLS-AM. He is the author of Conversations in Integration,” 8 books, with two more scheduled appears in the collection of for publication in the next year. essays, Documenting the Black Richard has been an on-air Experience. Eric can also be seen contributor to CBS-2, Fox and in the documentary Infiltrating WLS-TV in Chicago. He is currently Hollywood: The Rise and Fall of the a regular on Windy City Live on Spook Who Sat By The Door. ABC-7. He also reviews films for Eric holds two degrees from the the Reelz Channel. University of Illinois at Urbana- For nine years, Richard was the Champaign, a BFA in Fine Arts co-host of Ebert & Roeper. He has and a PhD from the Institute for appeared as a guest on Oprah, Communications Research. , The Tonight Show, The Today Show, Good Morning ZAK PIPER is an Emmy®-winning America, Top Chef, The Conan producer who previously served O’Brien Show, Entourage and many Woodbury as Director of Production at other national programs. Kartemquin Films for more than a All of Richard’s reviews can be decade. found at richardroeper.com and on Family Trust Zak produced the critically the Richard Roeper app. acclaimed documentary Life Itself, which premiered at Sundance REBECCA THEODORE-VACHON is 2014 and was an official selection a contributor to RogerEbert.com. Remember to buy of Cannes 2015. Life Itself Her work has also been published New Zealand Wines was named Best Documentary at TheUrbanDaily.com, Forbes. of the year by over 12 critics com, and NYTimes.com. She also associations, The Critic’s Choice runs her own blog FilmFataleNYC.

36 17th Annual Roger Ebert’s Film Festival blogspot.com and co-hosts Smith, Sandra Bullock, Denzel “Cinema in Noir” podcast on Washington) and big-name Sundays on BlogTalkRadio. filmmakers (, George Lucas, Martin Scorsese, PETER SOBCZYNSKI saw his very , Nancy Meyers, first film, Dumbo, when he was Spike Lee, Wes Anderson and 3 and has not stopped talking ). about them since then. Currently, Her positions at USA Today also he is a proud contributor to included being a film reviewer for RogerEbert.com and also reviews twelve years as well as the Life films for eFilmcritic.com and for section copy desk chief. She has Magills Cinema Annual. He is also served on juries at film festivals in a programming advisor for the Nantucket and Sarasota, and is a CHOICE AGED Chicago Critics Film Festival, an founding member of The Alliance annual festival of upcoming film of Women Film Journalists and RIBEYE STEAKS, put together entirely by Chicago- belongs to The Washington Area based film critics. He is excited Film Critics Association and the SALAD BAR to be attending Ebertfest again Broadcast Film Critics Association. this year and, while he cannot Since leaving the Nation’s COCKTAILS & WINE promise that he will participate Newspaper in 2013, Wloszczyna Serving dinner 7 nights in any karaoke competitions with has devoted herself to exploring from 4:30 pm his colleagues, he says that, if he new opportunities in the world of does, Taylor Swift will be his jam. online journalism. In addition to No Lunch Served He currently resides in the suburbs her RogerEbert.com duties, she is of Chicago, is eagerly awaiting an Oscar columnist and writer for Private lunch menu available Fury Road and would like to have the Women and Hollywood blog only for meetings and banquets a few words with Tim Burton and also regularly contributes to of 25-100 persons about this Dumbo remake he is the Thompson on Hollywood blog, supposedly doing. both part of the Indiewire.com website. (217) 351-9115 BRIAN TALLERICO has covered 1701 S. Neil Street • Champaign TV, film, video games, Blu-ray/ MATT ZOLLER SEITZ is the Editor- (A short walk directly SE of Hawthorne Suites) DVD, interviews and entertainment in-Chief of RogerEbert.com. He news for over a decade online, on is also the TV critic for New York radio and in print. Tallerico is the Magazine & Vulture.com and a managing editor of RogerEbert. finalist for the Pulitzer Prize in com. In addition, he is the editor criticism. of Magill’s Cinema Annual, a A Brooklyn-based writer and regular guest on Chicago radio, filmmaker, Seitz has written, writes the PlayStation Guide for narrated, edited or produced over About.com and freelances for 100 hours’ worth of video essays Videohound. He also serves as about cinema history and style vice president of the Chicago for The Museum of the Moving Film Critics Association and co- Image and The L Magazine, among produces the Chicago Critics Film other outlets. His 5-part 2009 Festival. None of it is possible and video essay Wes Anderson: The none of it is worthwhile without Substance of Style was later spun the support of his wife Lauren and off into the hardcover book The 3 boys: Lucas, Miles, and Noah. Wes Anderson Collection. Seitz is the founder and original editor SUSAN WLOSZCZYNA, now a of The House Next Door, now a regular contributor and critic for part of Slant Magazine, and the RogerEbert.com, previously spent publisher of Press Play, a blog of much of her nearly 30 years at USA film and TV criticism and video Today as a senior entertainment essays. He is the director of the reporter doing her dream job. 2005 romantic comedy Home and She visited the New Zealand film the forthcoming sci-fi epic Rabbit set of The Lord of the Rings and of the Sith. He is currently writing was a zombie extra in George a memoir titled All the Things that Romero’s Land of the Dead. She Remind Me of Her. interviewed countless show biz figures including icons (Vincent Go to www.ebertfest.com to Price, Shirley Temple, Peter read our Official Festival Blog O’Toole, Mr. Rogers), A-list stars (George Clooney, , , , Will

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 37 Laurel Leone Steve Bellamy Danny Wegener Bianca Gomez

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38 17th Annual Roger Ebert’s Film Festival amis wor ar more tan ust ostusters By Johnathan Hettinger, The Daily Illini

arold Ramis is quickly recognized as the quirky Dr. Egon Spengler in “Ghostbusters.” He is also spotted as the neurologist in “Groundhog Day.” But his appearances in these works are not the reason the Chicago native is being honored with the first-ever film tribute at Ebertfest. In addition to his on-screen duties, Ramis also helped write the screenplay for both of these films, and he directed “Groundhog Day.” Ramis also directed “Caddyshack” and “National Lampoon’s Vacation.” Ramis also helped pen the screenplays for “Caddyshack,” “Meatballs” and “Animal House.” Ramis’ contribution to comedy films is beyond compare, and it is fitting that he is remembered for these films, along with comedy greats Chevy Chase, Bill Murray and John Belushi. Ramis got his start in comedy writing and reviewing jokes for Playboy magazine before joining the Second City comedy troupe in Chicago. Harold Ramis rose to fame through movies like “Ghostbusters” and “Groundhog Day”, Most recently, Ramis directed four episodes of “The but Ramis’ contributions to film are far Office” and the movie “Year One,” which starred Jack Black Ramis helped write the screenplay for more than these early works. and Michael Cera. “Animal House.”

Like many of the people he worked with, Ramis got his start at Second City.

Before his death in 2014, Ramis directed 12 movies.

Ramis directed comedy great Chevy Chase in “Caddyshack” and “National “Year One” was Ramis’ final movie. Ramis directed “Groundhog Day.” Lampoon’s Vacation.”

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 39 EE screening sponsoreD by: JAMES BOND ood o aa i rodio r o odards oriial sl By Matt Zoller Sietz

Yes, but what is Godard a feature length montage, trying to say? much of it quickly edited, with The film continually circles back to its This is the question, the few shots held longer than question, the question critics three or four seconds. The rhetorical center — the idea that existence ask, and have asked, since style might be irritating in a is about trying to reconcile the “real” world Jean Luc-Godard made his first traditional . But feature, “Breathless,” back it seems of a piece in a movie with the subject experience of the world. in 1959. And with his latest, that is partly about (Godard’s “Goodbye to Language,” they’re films are always “about” asking it again. more than one thing—and What is it? Where to begin? often only partly about any Godard subjects, but with in service of spectacle and Much of the film is built of them) the impossibility of Godard’s cryptic voice-over violence and instead used it around a young couple at a focusing, concentrating, and aphorisms (“This morning is in the most mundane (and lake house who do a lot of comprehending history, and a dream. Each person must therefore revelatory) manner: arguing and also spend a lot of politics, and the written and think that the other is the to give an added sense of time naked. (Much of this feels spoken word, then making all dreamer”). presence, of “you are there- like a self-parody of European of it make some kind of sense, Did I mention it’s in 3-D? ness,” to very long takes, of a art cinema tendencies: How if only to yourself. If Terrence It’s in 3-D. And Godard’s use of camera gliding through plant can I get people to sit still Malick tried to make a Godard 3-D is the most original since life (a snake’s-eye view) or an for an extended discussion film in the spirit of Godard, Werner Herzog’s “The Cave of unseen viewer (us) scrutinizing of politics and language? By it might look something Forgotten Dreams.” Herzog’s an ancient mural, or listening having attractive people take like this, though with less brilliance was counterintuitive to an expert tell us about that their clothes off, of course.) prolonged discussion of Hitler, (at least from a commercial mural while shifting nervously But these characters one just the Holocaust, colonialism, standpoint). He put a technical from foot to foot. anchor points for, essentially, imperialism and other favorite process that’s often deployed Godard deploys the technology in a cheeky way (of course he does; he’s Godard!). Here, 3-D becomes one more element in Godard’s career- long fascination with exploring cinema’s formal properties, its grammar and technique and technology—the better to show how films can tell or elide a story, reveal or obfuscate the truth, or just kill screen time by distracting us with pretty pictures or jokes. There are a lot of pretty pictures in this movie, and a lot of jokes, and they’re not all corrosive or politically minded. Sometimes Godard seems to just be doing them because he wants to Héloise Godet stars as Josette in “Goodbye to Language.” Godet is one of this year’s Ebertfest guests.

40 17th Annual Roger Ebert’s Film Festival CE E oode to Language E (2014) Not Rated

Written and directed by Jean-Luc Godard

CAST: Héloise Godet as Josette Kamel Abdeli as Gédéon Richard Chevallier as Marcus Zoé Bruneau as Ivitch Christian Gregori as Davidson Jessica Erickson as

Running time: 70 minutes “Goodbye to Language” uses technology in many unique ways throughout the film. Print courtesy: do them—because he wants two titles or subtitles over film played around with text in Kino Lorber to try something new, or each other, collage-style, or this way, you could see a few different. Other times the film allows people or objects in the critics sort of leaning to one combines pretty pictures and frame to partly obscure written side, as if attempting to see jokes to create an oxymoron: a words; at a New York screening around whatever was on top gorgeous sight gag. of “Goodbye to Language” a few The film often superimposes weeks back, the first time the continued on page 42

EC E EE arold amis riute

Join us for a special tribute to Harold Ramis, featuring a collection of short clips from his movies along with other footage.

The screening will be followed by a conversation with his wife Erica Ramis, producer Trevor Albert, producer Laurel Ward and Chaz Ebert.

Erica Ramis (top), Trevor Albert (center), and Laurel Ward This year’s Festival is dedicated to Harold Ramis, 1944-2014 (bottom).

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 41 oode to Language continued from page 41 of the thing that they wanted the blacks have been crushed cues are cut off abruptly, as adding, “I am looking for to see. The movie also uses so that you can’t see any if somebody had pressed the poverty in language.” Given 3-D to create something like 2 background detail; red “Stop” button on a recording. that the film is itself so richly 1/2 D, by which I mean, you’re taillights in the background We hear that cinema is the expressive in every sort of aware of separate planes within become splashes of red. In a enemy and savior of memory, language (written, spoken, the same image, seemingly shot of roses in a green field, that the state is at war with its visual) this seems like yet separated by indeterminate the red of the flowers has people. The camera lingers over another wonderful joke, one space, yet each plane is two- been cranked up so that the a shot of a sink superimposed that somehow doubles as a dimensional, which means color smears and seems to be over a shot of bisected oranges lament. “Goodbye to Language” the net effect is like looking trying to escape the petals, and lemons superimposed over will be catnip to anyone who through a series of scrims, each like spirits escaping a body. An a red substance (blood) slowly continues to appreciate Godard emblazoned with a silkscreened intriguingly Malick-ian point- spreading through water. and find him fascinating, image. (Godard has contributed of-view shot looking up at The film continually circles and toxic to anyone who read episodes to two 3-D anthology trees festooned with fall leaves back to its rhetorical center— this review and thought, “No films, “The Three Disasters” favors two colors: orange for the idea that existence is about thanks.” and “The .” the leaves and violet for the trying to reconcile the “real” It’s a rapturous experience, Clearly this format is not just a sky. And of course, there are world with the subjective mostly, though tempered by a lark to him.) lots and lots and lots of shots experience of the world, and certain Godardian crankiness. Shooting in digital video of dogs. Godard loves dogs. the names and notions we Watching it is, I would imagine, again, the 83-year old director Meanwhile the film’s multiple use to catalog and define the as close as we’ll get to being plays with color saturation, narrators go full-steam ahead, world—but the digressions are able to be Godard, sitting there exposure, light and shadow. peppering the soundtrack what make it sing, or scat-sing. thinking, or dreaming. It’s In shots taken through the with thoughts and fragments “I will barely say a a documentary of a restless windshield of a car zipping of thoughts, some of them word,” says a voice on the mind. down a highway at night, overlapping. Some music soundtrack—maybe Godard?—

42 17th Annual Roger Ebert’s Film Festival SP33418 Melissa Merli “ ” – Roger Ebert

Follow Melissa’s daily coverage of Ebertfest in the pages of The News-Gazette. Plus photo galleries, videos and more at www.news-gazette.com.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 43 44 17th Annual Roger Ebert’s Film Festival All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 45 A Pigeon Sat on a ranc electing on istence

Desite end-o-lie teme ilm is anting ut dull By Peter Debruge

In a Venice Film Festival received by critics, though a series of chuckle-inducing lineup full of cynicism, suicide audiences have proven all but tableaux that clock in at just and despair, who would expect allergic to the first two films, under three minutes apiece on the new Roy Andersson picture which have cleared barely average. — “the final part of a trilogy $100,000 so far in the U.S. The Each of these shots serves as on being a human being” — to result of four years of rigorous a nearly self-contained comic be the most life-affirming? And planning and meticulous vignette, like a cross between a yet, from its comic title to the execution, “Pigeon” could fare “Where’s Waldo” cartoon and a wistful smile that accompanies slightly better than “Songs Gregory Crewdson photograph, its over-too-soon last shot, From the Second Floor” and and the best way to approach Andersson’s delightfully odd “You, the Living” (both of them is as you might a large- “A Pigeon Sat on a Branch which bowed at Cannes), but canvas painting or a Jacques Reflecting on Existence” finds only just. At least arthouse Tati film: Study the faces, soak the Swedish master of comic programmers can now get up the details, allow the eye to absurdity feeling downright creative, treating Andersson’s wander and the mind to free- generous, perched at a now-complete tragicomic opus, associate. Where other directors Producer Johan Carlsson is one of this comfortable enough distance a decade and a half in the seek out exceptional moments, year’s festival guest. from this coterie of sad sacks making, as the special event Andersson endeavors to capture and lonelyhearts to recognize that it is. the poetry of the mundane. the humor in such painful “Pigeon” is by far the With the exception of one lady convinced she can take subjects as mortality, aging, most accessible of the three scene, in which twin girls her handbag to heaven; and unpaid debts and unrequited films, offering a continuity blow bubbles from the balcony a cruise-ship passenger who love. throughline in the form of of a nondescript apartment collapses at the lunch counter, Just last year, Ethan Hawke novelty salesmen Sam (Nils building, and another that having just paid for his meal was quoted as referring to Westblom) and Jonathan observes a plumpish new mom (sorry, no refunds). More “Before Sunrise” and its two (Holger Andersson), a comedic (Andersson loves his ladies playful than his fellow Swede sequels as “the lowest-grossing duo who’d be right at home with a little meat on their Ingmar Bergman, who famously trilogy in the history of in a or Tom bones) cooing over her baby challenged Death to a game of motion pictures.” But even he Stoppard play. Here, the Laurel- carriage, all the characters here chess, Andersson recognizes probably hasn’t bought tickets and-Hardy-esque pair appear in are adults. Most of them have that there’s no cheating to Andersson’s incomparable nearly one-third of the film’s fewer days ahead of them than mortality — though sometimes triptych — rapturously 37 fixed-camera compositions, they do behind, but none seem we can speed it along, like the to truly appreciate the gift of suicidal CEO glimpsed later in living. Andersson does, and he the film. Best just to have a wants us to recognize it, too. sense of humor about it. Where other directors seek out exceptional Right up front, the helmer Some critics have mistaken moments, Andersson endeavors to capture presents three “meetings with Andersson’s movies as death:” a husband who suffers “depressing” (while others the poetry of the mundane. a heart attack while struggling have incorrectly labeled him to uncork a wine bottle; an old a “commercials director,”

46 17th Annual Roger Ebert’s Film Festival CE E A Pigeon Sat on a ranc C reectin COLOR electing on istence on existence (2014) Not Rated

Written and directed by Roy Andersson

CAST: Holger Andersson as Jonathan Nils Westblom as Sam Viktor Gyllenberg as Karl XII

Running time: 100 minutes

Print courtesy: Magnolia Pictures

The final chapter in Roy Andersson’s droll trilogy on “being a human being” introduces three dozen more brilliantly absurd vignettes.

failing to understand that he of enhancing loneliness by Ruben Ostlund do, using accepted those commissions to depicting it within a greater their locked-down cameras to Down on their luck, finance his painstaking feature context. He shoots rooms at make invisible nips and tucks. Sam and Jonathan bill ventures). “Droll” would be an angle, using perspective Regardless of the method, the themselves as being in the a better word for the artist’s to direct our eyes toward the film is a master class in comic “entertainment business,” attitude toward the washed- activity in adjacent rooms or timing, employing pacing and selling plastic vampire teeth out blue and beige world he on the other side of windows, repetition with the skill of a and a corny laughing device presents. His characters wear instead of observing everything practiced concert pianist. engineered to amuse. These white face makeup to enhance directly on axis, the way Early on, outside a dance two friends look like they their pallor, sleepwalking his similarly detail-oriented studio where the flamenco haven’t smiled in a long, long zombie-like through their lives. American namesake, Wes teacher gets a little too time. Emerging as the most Even the young couple seen Anderson, insists on doing. hands-on with one of her well-rounded character in necking on the beach appear to In “Pigeon,” people go pupils, a lady janitor says the entire trilogy, Jonathan be doing so in slow-motion. about their business in the into her phone, “I’m happy suffers from melancholy spells, In the interval since his last dreary little boxes of their to hear you’re doing fine.” culminating in a disturbing film, Andersson has embraced lives, but they don’t behave (Mobile phones are a rare nod dream sequence, where colonial hi-def digital cameras, like marionettes on strings, to modern life in a film that soldiers lead African slaves into which benefit his aesthetic but almost like actors on a appears to be set in a timeless a giant copper instrument that enormously. Now, the helmer stage, occasionally turning to retro past — and where King produces a beautiful sound as can ensure that even the far- address the audience. “Today I Charles XII and his infantry are the people inside are being distant background of every feel kind,” announces a cheese prone to drop in unannounced, roasted alive. What a curious scene appears in sharp focus. monger, while his wife gestures like characters in a Monty species are homo sapiens. Though the colors are dreary to the audience to let us know Python sketch.) The cleaning Judging by the film, we wage and the characters numb, she thinks he’s crazy. woman’s line becomes a hollow war, torture animals and take compositionally speaking, It’s unclear whether the platitude echoed by many of advantage of one another, and there’s not a single dull frame shift to digital has allowed the characters by film’s end, yet, Andersson assures us, in the entire film. Andersson Andersson to manipulate his and yet, there’s something to things could be worse. In the thinks like a painter, following footage the way directors be said for merely surviving in grand scheme of things, he’s Edward Hopper’s example such as and such an absurd world as this. happy to show we’re doing fine.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 47 oving idwa Film critic visits Sout discovers a surrising ancestr By Roger Ebert, October 15, 2008

“Moving Midway” tells three Start with a strong story that Godfrey went south to film stories, each one worthy of a you feel a personal connection this undertaking. It stirred film of its own. (1) It records with. His story grows stronger, family memories, and stories the journey home to North and the connections deeper. about the many people Carolina of the film critic Like many critics (the thought they had seen in Godfrey Cheshire, and his Alabama-born Jonathan Midway. Then he heard from discovery of his family’s secret Rosenbaum comes to mind), an NYU professor of African- history. (2) It documents the Cheshire was a small-town boy American studies named Robert ordeal of moving a 160-year- who moved to the big city. First Hinton, who said he was old Southern plantation house it was Raleigh, and now New related to the family; Hinton to a new location miles away, York. In North Carolina, his is the ancestral name. Robert not by road but over land. (3) youth revolved around Midway is African American. Godfrey It demolishes the myth of the Plantation, outside Raleigh, the invited him to come to North Southern plantation. family seat since 1848. In 2006, Carolina, visit the house and In “Moving Midway,” film critic Godfrey Movie critics are always the ravages of progress overran watch the move. Cheshire (above) learns of his unique asked if they’ve ever wanted to Midway. It was boxed in by Hinton had written about a history. make a movie of their own. A two expressways. Best Buy was much-publicized North Carolina handful, like Peter Bogdanovich across the street. Target and family reunion that reunited Lincoln Hinton, had some and , have had Home Depot were moving in. the black and white members memories to share. success with features. Others, Godfrey’s brother Charlie hired of the same plantation family. His mind clear as a bell, like Todd McCarthy, have made experts to jack up the house, Now he received an e-mail from Abraham recalled, during a visit good documentaries. Godfrey put it on wheels and move it a Brooklyn teacher named Al by Godfrey and Robert, that Cheshire’s first film follows the to 60 or 70 acres deep into the Hinton, who said his 96-year- his father, born in 1848, took first rule of both kinds of films: country. old grandfather, Abraham him past a big white two-story house and told him it was his birthplace. That was Midway. According to oral tradition in the African-American branch of the family, they were descended from a Hinton patriarch and a cook who was a black slave. There seems no doubt, both in genealogy and physical evidence: Every Hinton, white and black, has the same distinctive nose, which can clearly be seen in the portrait of their common ancestor. Cheshire made these discoveries while filming, and Robert Hinton became co-producer. He considers the myth of the idyllic plantation as formed in works like “Birth A 160-year-old Southern plantation house is moved to a new location miles away in “Moving Midway.”

48 17th Annual Roger Ebert’s Film Festival CE

starts in one direction and discovers a better one. Cheshire This is a deceptive film. It starts in one is a dry, almost dispassionate direction and discovers a better one. narrator, and that is good; oving idwa preaching about his discoveries would sound wrong. Robert (2008) Not Rated Hinton, whose feelings run of a Nation” and “Gone With Cheshire finds he has more deep, brings the story into Written and directed by the Wind,” and demolished by than 100 African-American focus: “I always wanted to meet Godfrey Cheshire “Roots.” Hinton, whose slave cousins, all of whom know a white Hinton. I was hoping I CAST: ancestors constructed Midway exactly who they are descended would hate him. The problem Godfrey Cheshire and picked cotton there, is from. “It is becoming clearer,” is, I like you, so I can’t lay Elizabeth Silver Cheshire (Sis) a succinct and sometimes he says, “that the South is a a lot of stuff on you.” He is Charles Hinton Silver, Jr. droll observer. He surprises mixed-race society.” Robert philosophical, but not resigned. (“Charlie,” “Pooh”) Cheshire by telling him he Hinton reveals to him: “I There is a difference. Dena Williams Silver considers Midway part of his found after I came North that Meanwhile, at the new Winston Sprague Silver own heritage, and again when I was more comfortable with Shoppes of the Midway (“Winkle”) he says it doesn’t bother Southern whites than with Plantation mall, there is a John Wales Silver (“Possum”) him at all that the original young blacks up here.” When restaurant named Mingo’s. Betty Wales Silver Howlson land will be buried beneath a Cheshire’s lively mother, Sis, That was the name of Midway’s Abraham Lincoln Hinton parking lot. Robert on Civil War and the stately Abraham meet, first slave. The mayor, bursting Running time: 95 minutes reenactments: they are instantly at ease, even with civic pride about the new “I’m comfortable with the idea kidding with each other. Not development, explains how Print courtesy: that they keep refighting it, as that Sis doesn’t believe the we have all moved on and First Run Features long as they keep losing it.” slaves, by and large, were taken outgrown the troubles of the Invited by Al and Abraham good care of. past. The mayor is black. We to a Hinton family reunion, This is a deceptive film. It are now in the 21st century.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 49 50 17th Annual Roger Ebert’s Film Festival You have a choice.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 51 e nd o te our Imressive caracter dialogue elevates ilms success By Brian Tallerico

There’s a scene halfway thousands of literature fans through James Ponsoldt’s looking for the “voice of their It is a film about incredibly smart people excellent “The End of the generation.” Even if he never Tour” in which writer David quite became that (because no made by incredibly smart people. Foster Wallace (Jason Segel) one did), Wallace carved out discusses his most common a loyal, appreciative fan base, demographic—mostly men, of which I must reveal I would would attempt to “explain” an old recorder) and the bulk mostly young. In 1996, which have carried a card as a member why Wallace killed himself, the of the film takes place in 1996, is when this scene takes place, if someone had printed them. origin of his genius, or even the when Lipsky worked for Rolling I was that demographic. I In 2008, when Wallace killed more hard-to-manage sides of Stone and convinced his editor carried around “,” himself, I was angry. It didn’t his personality. Defining genius to expense an interview with Wallace’s breakthrough book dawn on me that we had read or tragedy are common routes the writer recently deemed the across my college campus the last of his work. I didn’t to bad screenwriting. This is most important in his field. and was either laughed at or consider that possibility. It felt not that film. Working from a Lipsky travels to Wallace’s cheered for lugging a three- selfish to take such a gift away memoir by (played nondescript home on a traffic- pound, nearly-1,100 page from his fans. by Jesse Eisenberg in the film), filled road, where he meets two book to class. Wallace struck My concern as a fan was Ponsoldt and writer Donald rambunctious dogs, tries to a nerve in the mid-‘90s for that “The End of the Tour” Margulies use a few crucial days chew tobacco for the first time, of interaction between two and notes that the place looks writers to examine how genius, like a frat house. Is this how shyness and egocentrism can the voice of a generation lives? intersect, often in the same For the next five days, Wallace moment, without directly and Lipsky talk…and talk… placing labels on any of them. and talk. “The End of the Tour” The Wallace captured here is is very comparable to Richard a man who only a year before Linklater’s “Before” movies derided all that is popular and in the way that its greatest “hot” only to become that pleasures come not from himself. And as his literary star narrative but discussion, and in rose, he fought to hold on to how both films present chance the “normal life” he led. He was encounters as life-shaping undeniably the smartest man events. in many a room he occupied, From their first meeting, and yet, at least this version of both Davids are nervously him, refuses to embrace that, sizing each other up. Wallace retreating into his average guy is convinced that Lipsky is persona that really just protects going to turn his words against him from his own insecurities him, always commenting on and distrust. how the journalist can shape “The End of the Tour” opens the narrative as he pleases. in 2008, as Lipsky hears of the Lipsky recognizes Wallace’s death of Wallace. He pulls out talent and feels the pressure the old tapes of his interviews to really capture something (having to vulture batteries special given how rarely his James Ponsoldt directed “The End of the Tour,” a look at the late David Foster Wallace. from his toothbrush to put in publication interviews authors. 52 17th Annual Roger Ebert’s Film Festival CE

On the other hand, Lipsky is a work? I don’t think Wallace but there’s a deep blend of published author himself, with agrees. And I’m not sure Lipsky insecurity, melancholy, and E E a girlfriend (Anna Chlumsky) would by the end of the film. remarkably intelligence in this who may have a bigger crush It’s just one conversation- performance. Eisenberg nearly E e nd o te our on DFW than Lipsky. And so starting example in Margulies’ matches him. Ten minutes into there’s a bit of intellectual stunning screenplay, a gift of the film, it’s hard to imagine (2015) Not Rated gamesmanship going on in highly intellectual discussion it cast any other way. And these conversations, trying to between two brilliant people at the film is really theirs and Directed by James Ponsoldt get closer to one another while turning points in their lives. theirs alone, despite some not giving each other the upper How could someone who brief supporting turns by Joan Written by David Lipsky (book) hand. wants to be so ordinary Cusack and Mamie Gummer. Most of the joy of “The End write something as brilliant Even though I’ve loved his of the Tour” comes in these as “Infinite Jest”? It can previous works, when I heard CAST: carefully-constructed and yet be difficult for people to Ponsoldt was directing a film Jason Segel seemingly casual conversations comprehend the everyday about David Foster Wallace, I as David Foster Wallace that often diverge into what normalcy of people who was apprehensive. I wasn’t sure Jesse Eisenberg may feel like tangents—I love produce works of art. And it was the right fit of director as David Lipsky that the gentlemen discuss the Wallace didn’t exactly make and material. I was wrong. Anna Chlumsky virtues of , himself open to the public, So many other filmmakers as Sarah go and excitedly see “Broken always concerned about the would have amplified Wallace’s Arrow,” and just enjoy each agendas of those around him perceived misanthropy and Running time: 106 minutes other’s company—but regularly and even his own reasons for delivered a cynical film about Print courtesy: return to fascinating discussion wanting, or not wanting, fame. writing and writers. Ponsoldt A24 topics. When Wallace comments He’s a man who wants to be in loves his characters, and that he doesn’t know if he Rolling Stone but doesn’t want that likability softens the can trust women he meets on to want to be in Rolling Stone. edges, without allowing the his book tour as to whether At first, Segel’s performance film to ever turn maudlin or or not they’re into him or his feels a bit mannered, but he sentimental. It is a film about fame, Lipsky says, “Reading settles into Wallace with a incredibly smart people made the chase does to you is what you is another way of knowing depth of character I did not by incredibly smart people, elevates it into the best film of you.” Do we really “know” the think he had. He’s always and that embrace of not just the first few days of Sundance authors we adore through their been a solid character actor, intellectual pursuit but what 2015.

David Lipsky(left, played by Jesse Eisenberg) addresses David Foster Wallace (right, played by Jason Segel) in “The End of the Tour.”

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 53 Film screening sponsored by: CHAMPAIGN COUNTY ALLIANCE FOR THE PROMOTION OF ACCEPTANCE, irlood INCLUSION, AND RESPECT Film sows comleit o riendsi eminine sirit By Sheila O’Malley

Céline Sciamma’s films film about a of girls, and are delicate and emotional what friendship means, the examinations of, to quote protection it provides. What Sciamma is interested in is “moments.” Madonna, “what it feels like for “Girlhood” follows Marieme There are many moments that linger in the a girl.” Sciamma has directed (the extraordinary Karidja three features thus far: “Water Touré) through her 16th year. mind long after the film has ended. Lilies,” “Tomboy,” and now She lives in a big housing “Girlhood,” and each one takes project, and is the main on a different sliver of the caretaker of her younger sister. spectrum of adolescent or pre- Her grades are poor and she is at first. Marieme seems much and experiment a little bit adolescent girlhood. Girls are being pushed to transfer to a younger than these glamour with identity. The new persona not a monolith, they are not technical school and learn a girls, all of whom wear long might not “fit” Marieme, all the same, they are not “the trade. Her mother (Binta Diop) straight weaves, identical gold ultimately, but she’s 16 years other,” although you’d never works so many jobs she is never necklaces, and red lipstick. The old. She’s figuring it out. know it considering some of around, and Marieme has to cliche is that the “bad girls” Life is tough out there, and the films out there. It takes an answer to her brother (Cyril will “corrupt” the good girl. But the girls are aware of it. There intuitive and devoted filmmaker Mendy), who is downright Sciamma is up to something are pimp-type guys starting like Sciamma to go beneath abusive. Marieme is a sweet and different, thank goodness. to show interest in them, the surface of “girlhood,” to shy girl, her hair falling down These three girls are Lady circling like sharks. There remove the normal trappings, her back in braids. One day (the wonderful Assa Sylla), are judgmental fathers and and to look at all of the three tough Rizzo-types, lolling the leader of the pack, and the brothers, who shame the girls different forces and influences on the bleachers, summon two humorous underlings, Fily for growing up, for wanting in play. “Girlhood,” her latest, her over to their pow-wow. (Mariétou Touré) and Adiatou to stretch their wings a little is a powerful and entertaining Their motivations aren’t clear (Lindsay Karamoh). They bit, sexually. Marieme starts need a “fourth” to round out to date, tentatively, a boy their group. They’re trouble- she’s known forever, named makers, engaged in fighting Ismaël (Idrissa Diabaté). Their with another group of girls; scenes together offer a sweet nothing too serious, just a lot space where both can allow of screaming insults across train themselves to be tender, in platforms. Marieme enters the contrast to the closed-up group dynamic: the four girls toughness required in their hustle, they shop-lift, they larger world. They click. But book hotel rooms and eat pizza. it feels precarious. The girls The gang of girls do not initiate watch their friends get knocked Marieme into a dangerous world up and, for all intents and of drugs and sex. No, the tough purposes, vanish from the girls initiate her into a world world. They don’t want that of belonging, of fun trash-talk, for themselves. They want … an environment where she can something else, something let loose, try on makeup and more. Freedom. Liberty. To be a different hairstyle (for her left alone. friends’ benefit, not for any What Sciamma is interested romantic prospect’s benefit), in is “moments.” There are Karidja Touré plays Marieme, the main character in “Girlhood.”

54 17th Annual Roger Ebert’s Film Festival CE irlood (2014) Not Rated Written and directed by Céline Sciamma

CAST: Karidja Touré as Marieme Idrissa Diabate as Ismaël Rabah Nait Oufella as Kader

Running time: 112 minutes

Print courtesy: Strand Releasing

Céline Sciamma’s “Girlhood” delves into “what it feels like for a girl.” The film follows a group of four tight-knit friends in their search for friendship and identity.

many moments that linger A masterpiece scene comes Marieme is such a watchable in the mind long after the halfway through, so powerful character, that her experiences film has ended. The epic slo- in its representation of shared create a tension all their mo all-female football game joy and freedom that it sets off own. What will become of of the opening. An early echoes around it that continue Marieme? The group friendship scene showing a raucous throughout the rest of the is formative, powerful, for all time of growth and change, group of girls heading back film. The girls have shop-lifted of them, it is something they of trying on new identities, to the projects, all talking pretty dresses, and booked a treasure and cling to, but seeing which one fits the at once, until they fall into hotel room where they can they’re also just teenage girls. best. Girls “come of age” silence, collectively, when hang out for the night, maybe They’re not sure yet what is just like boys do, but many they approach a group of boys go out to a club later in their going to be the most important films take the attitude that lounging on the steps. The stolen goods. There’s a sense thing in their lives. it’s more dangerous for girls repeat shots of the back of of exhilaration in the moment, Comparisons will be to experiment. That might Marieme’s head throughout, and the four get up and start made, inevitably, to Richard be partially true, because of breaking “Girlhood” up into dancing together to Rihanna’s Linklater’s “Boyhood,” merely pregnancy, but it is not entirely unofficial “chapters.” Marieme “Diamonds.” The light is a deep because of the title. They true. “We Are the Best!” was washing dishes, emerging into blue, and the girls are jumping are two very different films. a terrific antidote to that the concrete yard outside, and laughing and loving each Sciamma’s films could all go prevalent teenage-girls-in-peril the camera following her, her other’s awesomeness for almost under the title “Girlhood.” narrative, and so is “Girlhood.” head facing out. (Sciamma the entirety of the song. All Her films do not diagnose. It’s not that Sciamma sugar- started “Tomboy” with the four are in the frame at the They don’t worry (at least not coats the dangers that are out back of a head as well, a head same time. Sciamma has given overtly). They do not assume there. It is that she is more with shorn-short hair, looking us what feels like a real event, that “girlhood” is mostly interested in how girls figure away, creating an automatic a real moment, one of those an experience of inevitable things out than in the many confusion as to whether it was precious moments in time that derailment. Adolescence is a ways girls can go wrong. a boy or a girl, the whole theme the girls might look back on of the film.) In “Girlhood,” and think, “That. That was there are fight scenes and good.” a hilarious miniature-golf The final section of Comparisons will be made to Richard excursion, as well as many “Girlhood” doesn’t quite have Linklater’s, “Boyhood,” merely because of the painful reminders that no, they the energy of the rest of it, will not be left alone, the world although Karidja Touré is such title. They are two very different films. cannot leave the girls alone. a compelling presence, and

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 55 Film screening sponsored by: STEAK ‘N SHAKE e Son o te Sei featuring e Allo Orcestra

Soundtrac rings lie to Fitmaurices silent ilm By George Heymont, San Francisco-based arts critic

Whenever it seems as if the Thrillingly directed by George world is about to crumble like Fitzmaurice, there is much Hearing their new score for The Son of a cookie (or be transformed about 1926’s The Son of the into a pile of ash), it helps Sheik to admire. the Sheik could completely transform your to embrace wretched excess. Valentino’s lithe and athletic Like a religious deathbed stunt work as an equestrian feelings about silent film. conversion, wretched excess is a pleasant surprise (many may be the antithesis of people forget that he worked everything a person stood for in San Francisco as a ballroom But while Valentino and score for Metropolis), they have in his sane, tightly disciplined dancer/escort for several Banky were impressive stars since composed scores for 25 life. But there comes a time years). during the silent era, this silent classics ranging from He when giving in is a better Vilma Banky’s dancing ranges restored print (completed Who Gets Slapped, The General, option than merely giving up. from campily seductive moves by Ken Winokur and Jane and The Phantom of the Opera As part of its five-day to some pretty fancy footwork. Gillooly’s distribution company, to , The Lost festival, Roger Ebert’s The costumes for the two Box 5), adds another star to World, and . Film Festival presents the romantic leads are gloriously the legacy of The Son of the The trio, which consists beautifully restored print of designed and an absolute joy Sheik -- a brand new score of Terry Donahue on junk ’s last film. to behold. composed and performed by percussion, musical saw, and the Alloy Orchestra. accordion; Ken Winokur on Music was -- and always percussion and clarinet; and will be -- a key component Roger C. Miller on keyboard, of silent film. A great score describes its work as: (or performance by talented “.... a three-man musical accompanying musicians) ensemble, writing and can bring an audience to its performing live accompaniment feet with a standing ovation. to classic silent films. Working Poorly-matched musical with an outrageous assemblage choices from what’s available of peculiar objects, they for free (most likely because thrash and grind soulful the music has entered the music from unlikely sources. public domain), can sap the An unusual combination of life and blood of a silent film found percussion and state-of- experience. the-art electronics gives the Those who have attended Orchestra the ability to create Ebertfest in the past are any sound imaginable. Utilizing familiar with the delights their famous ‘rack of junk’ that emanate from the Alloy and electronic synthesizers, Orchestra’s instruments. the group generates beautiful Starting with their first music in a spectacular variety collaboration in 1991 (a new of styles. They can conjure A restored print of Rudolph Valentino’s last film.

56 17th Annual Roger Ebert’s Film Festival CE

up a French symphony or a simple German bar band of the E 1920s. The group can make the audience think it is being E E e Son o te Sei attacked by tigers, contacted by radio signals from Mars, (1926) Not Rated or swept up in the Russian Revolution.” Directed by The thrilling key to their Written by Edith Maude Hull new score for The Son of the and Fred De Gresac Sheik is a heavy percussive element, whose desert drums CAST: cover everything from the Rudolph Valentino pounding hooves of Arabian as Ahmed/The Sheik steeds (although the film was Vilma Bánky as Yasmin shot in Yuma County, Arizona) George Fawcett as André to the passionate pumping of blood through a handsome Running time: 80 minutes young stud’s heart. Thankfully, the Alloy Print courtesy: Orchestra will be touring Box 5 screenings of The Son of the Sheik throughout the coming year. Hearing their new score for The Son of the Sheik could completely transform your “The Son of the Sheik” was also a part of the San Francisco Silent Film Festival in feelings about silent film. Autumn of 2014.

ECECE The Alloy Orchestra Alloy Orchestra is a three-man musical ensemble, writing and performing live accompaniment to classic silent films. Working with an outrageous assemblage of peculiar objects, they thrash and grind soulful music from unlikely sources.

Performing at prestigious film festivals and cultural centers in the U.S. and abroad (The Telluride Film Festival, The Louvre, Lincoln Center, The Academy of Motion Pictures, the National Gallery of Art), Alloy has helped revive some of the great masterpieces of the silent era.

An unusual combination of found percussion and state- of-the-art electronics gives the Orchestra the ability to create any sound imaginable. Utilizing their famous “rack of junk” and electronic synthesizers, the group generates beautiful music in a spectacular variety of styles. They can conjure up a French symphony or a simple German bar band of the '20s. The group can make the audience think it TERRY DONAHUE (junk percussion, accordion, musical saw, banjo), is being attacked by tigers, contacted by radio signals from KEN WINOKUR (director, junk percussion and clarinet) and Mars or swept up in the Russian Revolution. ROGER MILLER (synthesizer, percussion).

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 57 ro al omioa al sos s ad dos o roi By Roger Ebert, October 1, 1993

A boy comes of age in an Sonny (Chazz Palminteri) wants Italian-American neighborhood to do something for the kid, “A Bronx Tale” is a very funny movie in the Bronx. His father and offers a cushy $150 a week gives him a piece of advice: paycheck to his father, Lorenzo sometimes, and very touching at other “Nothing is more tragic than a (Robert De Niro). Lorenzo turns wasted talent.” A street-corner him down. He is a workingman, times...What’s important about the film gangster gives him another proud that he supports his is that it’s about values.” piece of advice: “Nobody really family by driving a bus. cares.” These pieces of advice He doesn’t like the Mafia and seem contradictory, but the boy doesn’t want the money. finds that they make a nice fit. The kid, whose name is most of the film is set, he Mafiosos (Martin Scorsese’s The movie starts when he is Calogero but who is called C, learns lessons that he will use “” was the best), but 9. Sitting on his front stoop, idolizes Sonny. He likes the all of his life. this movie isn’t like the others. he sees Sonny, the gangster, way Sonny exercises a quiet “A Bronx Tale” was written It doesn’t tell some dumb story shoot a man in what looks like authority, and talks with his for the stage by Palminteri, who about how the bus driver and a fight over a parking space. hands, and dresses well. When plays Sonny with a calm grace the mobster have to shoot Then Sonny looks him in the C is 17, he goes to work for in the film, but was Calogero in each other, or about how C is eyes, hard, and the kids gets Sonny, against his father’s real life. There have been a lot the hostage in a tug of war. the message: “Don’t squeal!” wishes. And in the year when of movies about neighborhood It’s about two men with some

In “A Bronx Tale,” both Sonny (Chazz Palminteri) and Lorenzo (Robert De Niro) act as father figures to Calogero (played by Francis Capra in this scene).

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experience of life, who love this kid and want to help him out. Lorenzo, the bus driver, gives sound advice: “You want to see E

ro al a real hero? Look at a guy who C gets up in the morning and (1993) Rated R goes off to work and supports his family. That’s heroism.” Directed by Robert De Niro But Sonny gives sound advice, Written by Chazz Palminteri too. One of the things he tells CAST: C is that you cannot live your Robert De Niro as Lorenzo life on the basis of what other Chazz Palminteri as Sonny people think you should do, Lillo Brancato because when the chips are as Calogero (age 17) down, nobody really cares. Francis Capra You’re giving them a power as Calogero (age 9) they don’t really have. That Taral Hicks as Jane sounds like deep thinking for Kathrine Naarducci as Rosina a guy who hangs on the corner Joe Pesci as Carmine and runs a numbers racket, but Sonny, as played by Palminteri, Jon Kilik served as a producer for “A Bronx Tale.” Running time: 121 minutes is a complex, lonely character, who might have been a priest a kid from his neighborhood (or strange visitors from outside Print courtesy: or a philosopher had not life hers) to do. He questions both the neighborhood - bikers and Tribeca Enterprises called him to the vocation of his father and Sonny, posing a hippies and black people - who neighborhood boss. hypothetical case, and although remind us that C lives in a It is 1968. Blacks are moving neither bursts into liberal-speak closed and insular community. into the next neighborhood. about the brotherhood of man, The climax of the film finds C C’s friends entertain both tell him about the same inside a car he does not want to It is filled with life and colorful themselves by beating up on thing, which is that you have occupy, going with his friends characters and great lines of black kids who ride past on their to do what you think is right, to do something he doesn’t dialogue, and De Niro, in his bikes. C has other things on his or live with the consequences. want to do. This part is very debut as a director, finds the mind. On his father’s bus, he has C’s romance is a sweet true. Peer pressure is a terrible right notes as he moves from seen a lovely black girl named subplot of the movie, which is thing among teenage boys. It laughter to anger to tears. Jane (Taral Hicks), and been filled with life and memories. causes them to do things they What’s important about the struck with the thunderbolt of There are, for example, the desperately wish they could film is that it’s about values. love. From the way she smiles characters in Sonny’s crowd, avoid. They’re afraid to look About how some boys grow back, she likes him, too. When including a guy who is such chicken, or different. C is no up into men who can look he discovers that they go to the bad luck he has to go stand in exception. His whole life hinges at themselves in the mirror same school, he knows his fate the bathroom when Sonny is on the outcome of that ride. in the morning, and others is to ask her out. rolling the dice. And another “A Bronx Tale” is a very just go along with the crowd, But he is troubled, because guy with a complexion so bad funny movie sometimes, and forgetting after a while that in 1968 this is not the thing for he looks like raisin bread. And very touching at other times. they ever had a choice.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 59 ild als ilm omriss si moros oml sor lis By Godfrey Cheshire

Multi-story feature films are art-house hit in the U.S. not the happiest of genres, thanks to its skill in deftly for reasons that are usually overcoming the form’s usual Each of the six stories here, which average very apparent. For one, having deficits, for a result that about 20 minutes, is thoroughly enthralling, to conclude one story and feels as amazingly cohesive start another, over and over, as it is relentlessly clever and and all are united by a mordant black humor. interrupts the dream-like flow entertaining. that most moviegoers expect No doubt the film has of features. For another, something of an advantage unevenness is almost built in that it comes from one successor ingeniously fulfills or loading the guy’s fries and eggs into the form: some stories filmmaker, Damián Szifron surpasses. with rat poison. The waitress is will be better than others, (“The Bottom of the Sea”), and The first, pre-credits story, morally torn, but there’s also perhaps especially when several thus reflects a singular vision “Pasternak,” gets things off a practical question: Once rat filmmakers are involved. and sensibility. Beyond that, to a high-flying start. An poison is past its expiration All of these inherent it must be said that Szifron attractive young woman–a date, does it become more or drawbacks help explain why has remarkable skills as both a model, we soon learn–checks in less potent? Argentina’s “Wild Tales” comes director and a storyteller. Each for a flight and hears she won’t The element of class conflict as such an extraordinary of the six stories here, which get frequent flier miles because grows more pronounced in surprise. Perhaps the best average about 20 minutes, is someone else has paid her “Road to Hell,” which plays multi-story feature this thoroughly enthralling, and all ticket. On board the plane, she like a more macabre version reviewer has ever seen, are united by a mordant black begins chatting with another of Spielberg’s “Duel.” Riding the Sony Classics release, a humor. Connected thematically passenger and learns they both down a remote highway in nominee for this year’s Best in dealing with revenge and knew a guy named Pasternak, his snazzy new sports car, a Foreign-Language Film Oscar, retribution, each segment a boyfriend she dumped years sleek corporate type passes a deserves to become a serious sets up expectations that its ago. Then another passenger slow pickup truck and shouts says he was the professor who insults at its grizzled, back- failed the same guy. Could it country driver. Naturally, the be--? Sure enough, the plane city slicker has a flat just a is full of people who’ve shafted few miles down the road, and Mr. P. And who’s that locked in the first vehicle to appear in the cockpit? his rear-view is the scorned In “The Rats,” revenge is a pickup. What ensues is dish best served with ketchup. apocalyptic (and droll) enough When a grumpy man enters to tickle Rod Serling. an empty roadside restaurant The film’s last three stories one night, the young waitress are more expansive, complex recognizes him as a corrupt and sharply edged in social official who drove her father to satire. In “Bombita,” a suicide. Sure, she’d like to see demolitions engineer stops to the world rid of him, but she’s pick up his daughter’s birthday not inclined to do anything cake and comes out to find his about it until the diner’s gruff, car towed – though the space elderly woman cook urges wasn’t marked a tow-away that it would be as simple as zone. In the coming weeks, as “The Rats” is a tale of revenge, set in a roadside restaurant.

60 17th Annual Roger Ebert’s Film Festival CE E ild als (2014) Rated R Written and directed by Damián Szifrón

CAST: Ricardo Darin as Simon Fisher Leonardo Sbaraglia as Diego Dario Grandinetti as Salgado Julieta Zylberberg as Moza Nancy Duplaa as Victoria Maria Onetto as Helena Rita Cortese as Cocinera Erica Rivas as Romina

Running time: 122 minutes

Print courtesy: Sony Pictures Classics “Till Death Us Do Part,” the final installment of “Wild Tales,” depicts a wedding that has a promising start, but quickly takes a turn for the worst.

his marriage begins to collapse, pregnant woman the night “Till Death Us Do Part” is a the enraged citizen seeks before. Frantic, the father corker. While previous tales justice for his parking woes, and his lawyer come up with hinge on enmity or distress, and finds himself surrounded a scheme to pay his poor this one starts out with by fellow Argentines furious gardener a half mil to take celebration and love. At a fancy at “fascist” bureaucratic the rap. But then the lawyer, wedding reception, the guests out in one convulsive evening. stonewallers. Is it possible who demands a half mil for his are giddy, the bride and groom Any of these tales separated his skills with dynamite services, brings the prosecutor enveloped in bliss. Until, that from the whole could surely might turn the engineer into it, which will cost another is, she discovers he’s cheated win prizes at short-film into a combination of Frank mil, plus payoffs for the on her with a woman in the competitions. Together, their Caprahero and Che Guevara? In police… No wonder poor dad room. At first, she flees to the collective impact proves this land, it seems, anything tells them all to go to hell, roof, weeping and suicidal. the synergistic effect of but bureaucratic responsiveness then realizes that his only Then the prospect of vengeance true artistic vision. With a is possible. real out involves something hardens her, and soon he’s confident, coolly elegant visual Its premise recalling Paolo he’s in fact very skilled at: the one who’s groveling and style somewhere between Virzi’s recent “Human Capital,” negotiation. sobbing. The reversals of Demme and DePalma, Szifron “The Deal” starts out with It might seem at this point emotional fortune continue emerges from “Wild Tales” an a rich couple learning their the film couldn’t top what’s until it seems we’ve just seen a international auteur to be teenage son has run down a come before, but not to fear: decade of marital turmoil play reckoned with.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 61 Dream big. We’re here.

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62 17th Annual Roger Ebert’s Film Festival PROUD SUPPORTERS OF EBERTFEST

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 63 Ida Audience oins ilmmaer on ourne troug te ast By Godfrey Cheshire

Debuted earlier this year Set in the of 1962 and at Lincoln Center and now composed of austerely gorgeous on a national tour, the 21- black and white images, Pawel Riveting, original and breathtakingly film series “Masterpieces of Pawlikowski’s “Ida” could fit accomplished on every level, “Ida” would be Polish Cinema” bears stunning right into the “Masterpieces” testament to the brilliance of series, evoking as it does films a masterpiece in any era, in any country. not only one especially fecund ranging from Andrzej Wajda’s national cinema but an entire “Innocent Sorcerers” to Jerzy era of moviemaking—call Kawalerowicz’s “Mother Joan Though born in Poland, he grew own. Though set in the ‘60s, it the golden age of the art of the Angels” (both 1960). up in Great Britain and has the era of Communist rule film. As Martin Scorsese, who But that’s not to suggest it’s done most of his work there and modernization, the story curated the series and whose a throwback or an exercise in (his previous films include “My scripted by Pawlikowski and Film Foundation provided its cinematic nostalgia. Riveting, Summer of Love” and “Last Rebecca Lenkiewicz looks pristine digital restorations, has original and breathtakingly Resort”). “Ida” represents a backward in time. Given that remarked, the period it covers accomplished on every level, return home for the filmmaker, it starts out in a convent that (roughly the ‘50s through the “Ida” would be a masterpiece in one that he has said draws seems like it hasn’t changed ‘70s) was one of extraordinary any era, in any country. on the memories, sights and since the Middle Ages, you accomplishments in many parts Somewhat ironically, director sounds of his childhood. might say that the film’s of the cinematic world, a high- and co-writer Pawlikowski That retrospective, and perspective suggests a vast water mark that grows ever can’t be considered a Polish somewhat impressionistic, expanse of Polish history. But more dazzling in retrospect. filmmaker in any strict sense. viewpoint mirrors the film’s its main focus is closer to hand: the country’s occupation by the Nazis (a historical passage that is resonantly evoked but never seen or directly referred to). Anna (Agata Trzebokowska) is an 18-year-old orphan who was raised in that convent and is preparing to take her vows when her Mother Superior insists that first she meet her one known relative. That is an aunt, Wanda (Agneta Kulesza), a former prosecutor with a high Communist Party rank whose dissolute life of smoking, drinking and bedding men stands in stark contrast to the ascetic existence of her sheltered niece. But Anna has more to be shocked about when Wanda tells her that her real name is Ida (pronounced Eeda), “Ida” explores the lasting effects that the Nazi occupation during World War II had on Poland. that she is Jewish and that

64 17th Annual Roger Ebert’s Film Festival CE

But in Poland in the ‘40s, as in Cambodia in the ‘70s and Rwanda in the ‘90s, evil’s authors could be one’s friends (2013) Rated PG-13 da and neighbors, and simple farm implements its instruments. In Directed by Pawel Pawlikowski C touching on this reality, “Ida” Written by Rebecca Lenkiewicz adds something to a subject and Pawel Pawlikowski that sometimes seems to have lost the ability to disturb us as CAST: Agata Trzebuchowska as Anna it should in movies. as Wanda Besides this historical acuity, as Singer the film gives us a fascinating Dawid Ogrodnik as Musician pair of matched archetypes Adam Szyszkowski in its main characters, which as Feliks Skiba are realized in two exquisite Jerzy Trela as Szymon Skiba performances. As the aspiring Artur Janusiak as Militia Man nun who’s suddenly tossed Pawel Pawlikowski, Director of “Ida” into the ugliness of the world, newcomer Agata Running time: 80 minutes her parents were killed during seem at once classical and Trzebokowska proves a poised Print courtesy: World War II. off-handed, with the subjects icon of luminous quietude and Music Box Films This revelation triggers a often located in the screen’s awakened curiosity, discovering journey in which aunt and two bottom quadrants. As herself as she painfully niece drive back to the village in Bresson, the effect is to uncovers her past. And as the of Anna’s parents in an effort draw the viewer’s eye into the embittered, nihilistic “Red to discover how they died beauty of the image while Wanda,” a woman driven both and where they were buried. simultaneously maintaining a by the horrors inflicted on Although this quest is central contemplative distance from her and those she’s inflicted played out in a single human to the narrative, “Ida” is the drama. on others, veteran Polish soul. Like much about “Ida,” anything but plot-driven. It’s a Pawlikoski and Lenkiewicz’s actress Agneta Kulesza creates these actresses’ work not only film of moments, observations scripting proves similarly the astonishing impression pays homage to masterpieces of and moods, with a lyrical lapidarian. Besides its look, that some of history’s most the past but revivifies current unfolding that recalls such “Ida” most recalls the manner wrenching conflicts are being cinema in doing so. atmospheric monochrome of bygone art films in the road movies as Wim Wenders’ modernist spareness and “Kings of the Road.” And when thoroughgoing obliqueness of the two voyagers pick up a its writing. Very little is stated hitchhiking tenor saxophonist directly; instead, we glean (Dawid Ogrodnik) and end up things from casual remarks and watching his gigs, the music subtle suggestions. Somehow, of John Coltrane and similar this technique of inference artists adds an engrossing aural makes the film’s eventual dimension to the odyssey. revelations feel both more Few recent films can claim a integral and more powerful. visual approach as striking as Because revelations do come, that which cinematographers despite the quest’s languorous Lukasz Zal and Ryszard rhythms, and they touch on Lenczewski give “Ida.” Filmed arguably the darkest and in the unusual, boxy aspect most troubling chapter in ratio of 1.37:1, and most often modern Poland’s history. What deployed in static long shots, happened to Anna’s parents? the film’s images sometimes Most films that approach suggest Vermeer lighting with this horrific arena envision the color taken away, and jackbooted armies and vast the compositions manage to industrial execution sites. Dawid Ogrodnik plays Lis, a tenor saxophonist in “Ida.”

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 65 ol i ilm dis rials ad rilaios o o rors By Sheila O’Malley

Joan Didion famously wrote, operate as brothers. Jerry “We tell ourselves stories in Lee pleads with Frank, “Tell Actors often are unable to convince us that order to live.” And that’s what me a story, Frank?” Based on brothers Frank (Emile Hirsch) the debut novel by musician they go way back to childhood together and and Jerry Lee (Stephen Dorff) Willy Vlautin, “The Motel Life” Flannigan do for one another could have been a schmaltzy have emerged from the same family. With Dorff in “The Motel Life”, directed by mess in less sensitive hands. It and Hirsch, you never doubt it for a second. producers/directors/brothers, could have made kitschy and Gabe and Alan Polsky. Frank quirky that which is essentially tells the stories, and Jerry Lee poignant and heartfelt. But the does accompanying drawings in directors and the cast, through battling pirates and Nazis and ever since. In the stories Frank a sketch book. They tape the a miracle of tone, mood, and triumphing over unimaginable tells, Jerry Lee has two legs, drawings all over the cinder emotion, have made a film that odds. When they were kids, of course. In the stories Frank block walls of the various feels true, that is sweet and their father abandoned them, tells both brothers are tall dingy motels they call home. sharp and unbearable. Every their mother died (but not and handsome and strong and Frank and Jerry Lee are grown frame feels right, every choice before exacting a promise capable. We see these stories men, but damaged and on the feels thought-out, considered. that the brothers would stick unfold before us in crackling run, living in the permanent All adds up to a heartbreaking together), and, after a freak pencil animations woven American underclass, and the whole. accident with a moving train, throughout the film, witty and stories are the lifeline they The stories Frank tells Jerry Lee had to have a leg riveting, a representation of have created for one another, are escapist cliffhangers amputated. Life has been one Jerry Lee’s illustrations come the context in which they starring the two brothers long sorry stream of bad luck to life.

In “The Motel Life,” brothers Jerry Lee (Stephen Dorff) and Frank (Emile Hirsch) hop from motel to motel, always trying to figure out their next move.

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wrong with him is not made Hirsch, you never doubt it for explicit, and Stephen Dorff’s one second. E E performance is a damn near Jerry Lee has an imaginary masterpiece of pathos, bringing girlfriend named Marge, and E ol i “The Motel Life” into “Of Mice he covers the walls of their and Men” territory, clearly motel with drawings of her, (2012) Rated R one of the story’s original a buxom pinup with a 1940s influences. When Frank steals hairstyle. Jerry Lee is in awe Directed by Alan Polsky and a dog (it was going to freeze that his brother had actually Gabe Polsky to death being tied up in that been in love, and, more Written by Willy Vlautin, Micah Fitzerman-Blue and front yard anyway), and tells importantly, that a girl had Noah Harpster Jerry Lee about it, Dorff’s face loved him back. He, Jerry Lee, cracks in a childlike smile that has never had that. His eyes CAST: is almost unbearable to witness fill with tears as he talks to Dakota Fanning as Annie James in its uninhibited joy, saying, Frank about it, the wreckage Emile Hirsch as Frank “We always wanted a dog!” The of his face displaying a Stephen Dorff as Jerry Lee Alan Polsky directed “The Motel Life.” “We” is eloquent. whirlwind of loneliness. Dorff’s Garrett Backstrom After a hit-and-run accident performance is magnificent, as Young Jerry Lee We meet the brothers in on an icy night when Jerry and is entirely lacking in Kris Kristofferson as Earl Hurley fragments and glimpses. We Lee accidentally kills a young big histrionic gestures or as Tommy see them as kids, we see man with their car, any small cathartic breakdowns or Noah Harpster as Al Casey Andrew Lee as Young Frank them as men. Their bond is hand-hold the two may have temper tantrums. His eyes look unmistakable, and perhaps had on stability is lost. Frank pained and gentle as he tries Running time: 95 minutes unhealthily so, but the film helps Jerry Lee of the to comprehend what the hell lives in the belljar of the hospital (his prosthetic leg this life has handed him. And Print courtesy: brothers’ reality, where they has been lost in their travels), Hirsch, as Frank, is a beautiful Polsky Films have no one else in the world and they hole up in a motel, listener, a resourceful support but one another. Frank has hiding from the cops, trying system, and also damaged friends (people he can hit up to figure out their next move. beyond repair himself. for cash, that is), but Jerry Well, Frank does the figuring The supporting cast is dark glamor there (especially Lee’s only contact with the because Jerry Lee is in a panic all great, especially Kris in a show-stopper of a scene outside world is through his and emotional tailspin. The Kristofferson as a used-car through a casino). We have all brother. The motel rooms they intimacy between these two salesman and stand-in father been in such places, even if it live in are so unwelcoming actors is a miracle to behold. figure for Frank. He gives is only through the movies, or you can feel how cold the There is one scene where advice that is actually sound through our books. We know tile is, how thin the stream Frank helps Jerry Lee into the (unlike most of the other folks those red leather booths, those of water in the shower, how shower to clean him off. Dorff in the film), telling Frank, cigarette machines, the neon, dingy the blankets. Frank is stark naked, and Hirsch “Don’t make decisions thinking the geometric tile floors, the is the responsible one, and is clothed, and at one point you’re a low-life. Make decisions crappy art on the walls. It’s that’s not saying much. He they start giggling about the thinking you’re a great man. Or already in us, it’s a part of us. scrambles for every dollar in nudity and the close quarters at least a good man.” The fact With super strong his pocket. He is haunted by (“You got a big dick, Jerry that Frank does not realize he performances and a mood so Annie (Dakota Fanning), a girl Lee,” Frank comments with is already a good man is one of melancholy-thick that you ache he dumped. She was sweet a mix of embarrassment and the tragedies in the film. to comfort these men, “The and loyal, and had similar admiration), and it was a Motels are up there with Motel Life” is still a beautifully escapist tendencies (she also beautiful moment of levity in the Automat, the drive-in, warm film with a very kind liked Frank’s stories), but she a story of restless heartbreak, jukeboxes, and cars with heart. It does not push the was forced into prostitution by but also a perfect encapsulation tailfins, as emblematic of characters or manipulate them. her horrible mother and Frank of the weird intimacy between certain aspects of American It does not worry too much can’t forgive it. He’s obviously siblings. Films often get siblings culture. These things are about its plot. The film is wise a one-woman kind of man. He wrong. Actors often are unable familiar even if their heyday enough to just stand back and cannot get over her. Jerry Lee to convince us that they go predates us. “The Motel Life” let its characters be. What a seems challenged in a way that way back to childhood together does not shy away from the refreshing change. What a goes far beyond his physical and have emerged from the seedy aspects of its world, beautiful and sad film. handicap. Whatever might be same family. With Dorff and but it also understands the

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 67 Documentary, Delivered. WILL TV is your source for Independent Lens, American Experience, Frontline, and other PBS programs offering the best in documentary film, as well as locally produced programs and content offering perspective from those living in our area. Coming this month:

American Experience: My Lai. 2010 film focuses on the 1968 My Lai massacre, its subsequent cover-up, and soldiers who tried to halt the atrocities. 8 PM on Tuesday, 4/21.

The Day the 60s Died. Program chronicles the nation’s upheaval after the shooting of four students at Kent State University in May 1970. 8 PM on Monday, 4/27.

American Experience: Last Days in Vietnam. New from American Experience, Last Days in Vietnam (directed by Rory Kennedy) chronicles the chaotic final days of the Vietnam War as the North Vietnamese Army closed in on Saigon. 8 PM on Tuesday, 4/28.

TM Watch videos on demand at video.will.illinois.edu

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 69

arai ss ilm o lor iss o oomi iali By Brian Tallerico

With “99 Homes,” Ramin There are people watching Bahrani has taken the subject their belongings go from the of a social issue drama and home in which they raised structured it like a thriller. their children to the curb The film hums along, perfectly where their garbage is picked paced and driven by great up while you read this review. performances all around. It’s Bahrani uses the housing also something of a call to crisis as a starting point for a arms, an urgent instruction to phenomenal piece of character- pay closer to attention to one driven storytelling. Dennis of the most defining issues of Nash (Andrew Garfield, who our time: economic inequality. hasn’t been this good since Seeing Bahrani’s film mere “”) lives hours after the premiere of Oren with his son and mother (the Moverman’s “Time Out of Mind,” eternally great Laura Dern) in a film about the a modest Orlando home. He fact that homeless people have has missed a few payments, become so marginalized that although he tries to argue with they barely exist in the social the judge at his hearing that it “99 Homes” is a story about the human essence, and, in many ways, is structured as a thriller. consciousness, it struck me that was a miscommunication with we could be on the cusp of a the bank and not an actual wave of films about the unfair economic shortfall. It doesn’t person you want to see at your damaged this country. world in which we live. As matter. Dennis is getting door. He’ll usually be there Dennis moves into a seedy Bahrani said in his interview, evicted. And when you’re with a couple cops, give you a motel with his mom and child, through scratchy voice due getting evicted in Orlando, few minutes to take what you desperate to find a way to get to illness, “There’s something you’re likely to cross paths need from your home, get his his home back. So desperate wrong in this world, and we with Richard Carver (Michael guys to lug the rest out to the that he ends up working for have to reassess.” There are Shannon). curb and then take ownership Carver. We become a part of times in “99 Homes” when Carver owns a realty company through foreclosure. And the system that has destroyed you’ll want to look away, when that feeds on the economic that’s only one part of Carver’s us. Think about that. How your gut will turn from the crisis. As he says, he’s made business. He runs scams all over many people have been fired human pain on-screen. Don’t more money after the crash town: stealing air conditioners by companies that they, in look away. Reassess. than before it. He’s the last from foreclosed homes so the whatever way, contribute to government will pay him to the success of as consumers? replace them (with another Bahrani’s structure is a brilliant stolen air conditioner), using a one, in that it’s impossible to There are times in “99 Homes” when you’ll “Cash For Keys” system to grift morally judge a man who is want to look away, when your gut will turn from the government and much trying to keep his mother and more. All of Carver’s ventures son safe, and yet there’s a sense from the human pain on-screen. have made him very rich, and of unease throughout Dennis’ that wealth has come from journey, like watching a kid Don’t look away. Reassess. the economic disparity and join the mob after it’s destroyed corruption that have forever his life.

70 17th Annual Roger Ebert’s Film Festival CE

“99 Homes” plays like a “99 Homes” doesn’t portray its thriller but it’s grounded by the issues in black and white, and E three-dimensional performances Garfield and Shannon’s nuanced from Garfield and Shannon. work is what makes that gray (2014) Rated R omes The former finds the emotional area effective. rhythm of a man without “99 Homes” pulses with Written and directed by many options left. As so many energy from the very Ramin Bahrani people in this world are, Dennis beginning. Bahrani is always is forced into a situation he keeping his camera moving, CAST: didn’t create and can’t avoid. timed to an unsettling Andrew Garfield as Dennis Nash And you can see the inner electronic-driven score. It is his Laura Dern turmoil in Garfield’s eyes. most confidently made film. It as Lynn Nash There’s less of a moral center doesn’t feel like there’s a beat, Michael Shannon in Shannon’s fantastic work as a shot, an angle that’s out of as Rick Carver Carver, but that’s what makes place or unconsidered. And Tim Guinee him so interesting. Shannon yet that streamlined approach as Frank Green wisely avoids turning him to filmmaking never corrupts Ramin Bahrani wrote and directed “99 Noah Lomax into a cartoon, even finding Bahrani’s ability to capture the Homes.” as Conner Nash the realism in this real estate human condition, as he did so J.D. Evermore shark. He’s using a corrupt completely in films like “Chop wanted to turn away. I felt as Mr. Tanner system to his advantage. When Shop” and “Goodbye Solo.” The myself squirming in my chair. Running time: 112 minutes he says, “Only 1 in 100 is going evictions of “99 Homes” are But I thought of Bahrani’s to get on that Ark, son,” who gut-wrenching. I found myself, words and realized that Print courtesy: can blame him for trying to especially during the first this righteously angry film Broad Green Pictures keep from drowning? Like all one of Dennis and his family, should be tough to watch and great socially conscious films, remarkably uncomfortable. I emotionally difficult.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 71 u n daa Semour An Introduction

awe tells stor o legendar classical ianist By Justin Chang

The great classical pianist his onstage performances. Seymour Bernstein is as graceful Ultimately, he concluded that a speaker as he is a musician, nerves were a good thing, sure and his voice rings out with evidence of someone who took wondrous depth and clarity in their art seriously. “Nervousness “Seymour: An Introduction.” is part of what we do,” he says, Although clearly designed as driving the point home with a a reverent tribute from one snarky anecdote about Sarah artist to another, this first Bernhardt that builds to a documentary directed by Ethan hilariously insightful punchline: Hawke happily sidesteps any “You will get nervous when you vanity-project pitfalls, granting learn how to act.” full expression to Bernstein’s Still, Bernstein’s ability wise and witty commentary on to master his anxiety wasn’t a craft that he’s spent decades enough for him to keep honing — as well as the proper subjecting himself to it, and application of that craft when although his performances the demands of art are often earned rapturous reviews outweighed by the pressures (“Seymour Bernstein Triumphs Seymour Bernstein and Ethan Hawke, the director of “Seymour: An Introduction.” of commerce. Acquired by at the Piano,” crowed a Sundance Selects on the eve of New York Times headline a prestigious fall festival run, after his concert debut), he themselves into social-media not allowed to play better this gently moving portrait withdrew from the spotlight superstars before they’ve even than I do,” he tells a student should be catnip for music at age 50 in order to focus had the chance to cultivate an who has just mastered a tricky buffs and other artistically on his deeper calling as a inner life, this is essential, if bit of phrasing). And while minded viewers, but Hawke’s teacher and composer. As the radical, advice. Still, all that “Seymour: An Introduction” involvement and strong reviews now-octogenarian musician high-minded talk of artistic builds gradually to Bernstein’s could help expand its audience. looks back on his career in integrity might have rung first public recital in 35 years Although he’s only onscreen conversation with one of his hollow were it not for Hawke’s (circa April 2012), we come for a few minutes, Hawke does former students, the pianist own highly adventurous to understand that every pop up early on to explain how and Times writer Michael track record as an actor and lesson he teaches is itself a he met Bernstein by chance at Kimmelman, Bernstein filmmaker, and some of it sort of performance, striking a dinner party in , continually points out how might have sounded unbearably a careful balance of gentle where he found that this important it is for talented precious coming from a encouragement, critical acumen gentle-voiced and unfailingly people to take the time to documentary subject less poised, and unmistakable showmanship. perceptive older gentleman develop their gifts, and how expressive and in command of For anyone who has studied seemed to understand him detrimental the temptations of his words than Bernstein. piano or any other musical and his career anxieties better fame and success can be to one’s But from the opening shot instrument, Bernstein’s than most actors did. A close growth as an artist. (He holds of him practicing a piece in interplay with his students friendship was born, as the up the late Glenn Gould, “a total his cozy, book-lined Upper may bring back fond and pianist helped coach Hawke neurotic mess,” as a particularly West Side apartment to the occasionally nerve-wracking through his crippling bouts unhealthy example.) touching self-reflection that memories. It’s in these scenes, of stage fright, something In an entertainment closes the film, the man is a too, that the unfussy precision Bernstein himself used to landscape where creative types fount of eloquent wisdom and and elegance of the filmmaking struggle with before and during are now encouraged to brand self-effacing humor (“You’re are most apparent, from d.p. 72 17th Annual Roger Ebert’s Film Festival CE

fully understand or appreciate For anyone who has studied piano or any his son’s gift, or when he E bemoans the reality that society Semour An Introduction other musical instrument, Bernstein’s interplay has taught men to “subdue the C feminine,” tossing off some (2014) Rated PG with his students may bring back fond and particularly robust, aggressively occasionally nerve-wracking memories. masculine strains of Beethoven Directed by Ethan Hawke to prove his point. “Let us shed our guilt CAST: Seymour Bernstein as Himself concerning the use of the soft Jiyang Chen as Himself Ramsey Fendall’s nimble While this “introduction” pedal,” reads the tagline on the Ethan Hawke as Himself coverage and Anna Gustavi’s hardly counts as a movie’s poster, and “Seymour: Marcus Ostermiller as Himself fluid editing to the all- comprehensive biography, An Introduction” is nothing if important sound mix calibrated Bernstein does occasionally talk not a paean to understatement Running time: 84 minutes by Timothy Cleary and about his early years, including — a concept made literal Guillermo Pena-Tapia, ensuring his army service in the Korean when Bernstein carefully tests Print courtesy: that the numerous snippets War (accompanied by archival one Steinway after another, IFC Films of Schubert, Chopin and other footage), during which he searching for the most composers are heard to their and others played occasional controlled and delicate sound best advantage. Hawke may concerts for their fellow possible. In his calm defense be an unobtrusive presence soldiers. Viewers curious to of beauty, craftsmanship, onscreen, but his exquisite know more about his personal intellectual curiosity and sense of formal judgment, life since may pick up on telling emotional connection as vital along with his affection for his details when Bernstein describes human needs, this is one artist friend and mentor, permeates his difficult relationship with who knows he doesn’t have to every frame. his father, who could never raise his voice to speak volumes. McKinley PRESBYTERIAN CHURCH AND FOUNDATION

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 73 74 17th Annual Roger Ebert’s Film Festival a o adi ilms r o isio By Bella Jackson, The Daily Illini

estival Director Nathaniel Mary Susan Britt, the Kohn and Chaz Ebert have associate festival director, “(The films) explore the human condition, worked throughout the last year stated that it is important to to hand-pick the films shown at the festival staff that the films are empathetic, allowing us to spend time Ebertfest. Kohn said the process remain true to Roger’s vision. of picking the films is ongoing, “The 12 films screened during in an unfamiliar world or with people and many factors are considered the five days represent a cross- who might not be like us.” when choosing the films, which section of important cinematic are announced in March. works overlooked by audiences, Some of the film choices critics and/or distributors,” she Kohn said that regular festival are in the present moment. For come from lists that Roger wrote in an email. attendees do not need to worry example, last year we thought Ebert had put together before Although Roger did not leave about the list of movies running that ‘Do the Right Thing’ and his death in 2013, he said. any notes or an explanation for out in the near future. There are ‘Born on the Fourth of July’ had “Roger, Chaz and I had an why he chose certain films on multiple emails from Roger in a particular relevance to issues informal growing list of films the existing list, Kohn said that which he lists many movies that that were in the public sphere we were considering for the he and Chaz worked to pick he hoped would be shown at last year,” Kohn said. festival. We have shown some films that are true to Roger’s future festivals. Once the films have been films from that list, and will vision for the festival. Outside factors, such as current chosen, festival staff ensure the continue to do so. But the “(The films) explore events or themes in the news, choices are widely publicized. majority of the films we showed the human condition, are can also influence the films Kohn said that he has personally last year and will show this empathetic, allowing us to spend chosen for the year’s festival. watched many of the films year are newer films and are time in an unfamiliar world or “Older films sometimes come on the list, and is excited for not on those lists,” Kohn wrote with people who might not be back into currency, given where the showings of some of his in an email. like us,” Kohn said. society, culture and the news favorites this year.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 75 Hunters Pond APARTMENT HOMES

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April 15-19, 2015 • The Virginia Theatre 77 The City of Champaign welcomes Ebertfest 2015 attendees to Downtown Champaign. Be sure to check out what’s happening in our incredible Center City, just steps from your seats between fi lms. We encourage you to visit our many restaurants, shopping destinations and other attractions throughout the City.

Hourly and long term parking for Ebertfest is available in the Hill Street Parking Deck, just a few short blocks away from the Virginia at the corner of Hill St. and Randolph St.

78 17th Annual Roger Ebert’s Film Festival Last ear A look back at the 2014 Festival Photos courtesy of Thompson McClellan Photography

Chaz Ebert examines the new Roger Ebert sculpture after the unveiling during the 16th Annual Roger Ebert’s Film Festival. The statue permanently sits outside of the Virginia Theatre as a tribute to Roger and Ebertfest.

Director discusses his film Spike Lee, director of “Do the Right Thing” on-stage with Chaz Ebert after Director Steve James introducing his film “Born on the Fourth of July” after the the screening of his film. “Life Itself” on opening night. acreening.

April 15-19, 2015 • The Virginia Theatre 79 University of Illinois President Robert A. Easter addresses Ebertfest guests at the Opening Night Gala held at College of Media Dean Jan Slater and Chaz Ebert at a his home. brunch hosted by Ebertfest sponsor Steak ‘n Shake.

Director discusses her film“A Simple Bennett Miller, director of “Capote”, speaks Life” with the audience following its screening. on-stage after the screening of his film.

Chaz Ebert presents Haifaa Al-Monsour (director, “Wadjda”) with the Tim Watson (editor), Henry Butler (musician), Lily Keber (director) and Nate Kohn (producer) Golden Thumb Up award at the 2014 festival. discuss “Bayou Maharajah” in a Q-and-A session following the movie’s screening at Ebertfest.

80 17th Annual Roger Ebert’s Film Festival Henry Butler (musician) getting down at the 2014 Roger Ebert’s Film Festival after the on stage after the screening of “Young Adult.” screening of “Bayou Maharajah.”

Dr. Julian Rappaport moderates the panel discussion “Challenging Stigma Through the Arts’ held at the Illini Union.

Brie Larson and Keith Stanfield receive a standing ovation after their film “Goodbye Solo” director Ramin Bahrani on stage with David Bordwell at the 2014 Festival. “Short Term 12.”

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 81 S UP TO B C M H U A H Z T

F ! o l r a a iv M st a Fe gnificent ROGER WOULD BE SO PROUD. MISSING ROGER AND APPLAUDING CHAZ FOR INJECTING HIS SPIRIT THROUGHOUT THE FESTIVAL.

- DEBBIE HARTMAN

82 17th Annual Roger Ebert’s Film Festival as to those who made the 2015 Festival possible

FESTIVAL GUESTS FESTIVAL STAFF VOLUNTEERS PRINT COURTESY

Simon Abrams Executive Producer and Host Roger Ebert’s Film Festival GOODBYE TO LANGUAGE Print Courtesy CHAZ EBERT thanks all of its loyal and Trevor Albert Kino Lorber hard-working volunteers. Alloy Orchestra Festival Director Dan Aronson Nate Kohn Without you, the Festival HAROLD RAMIS TRIBUTE REEL would not be possible. We Print Courtesy Ramin Bahrani Associate Festival Director are deeply grateful for your The Second City Michael Barker Mary Susan Britt dedication, time and Javier Braier MOVING MIDWAY commitment – not only during Print Courtesy Jason Brett The Master the Festival, but all year round. First Run Features Johan Carlsson Andrew Stengele Godfrey Cheshire A PIGEON SAT ON A BRANCH Director, Virginia Theatre Stephen Dorff REFLECTING ON EXISTENCE Steven Bentz Print Courtesy Matt Fagerholm A VERY SPECIAL Magnolia Pictures Thea Flaum Front of House Manager, THANKS TO Virginia Theatre Scott Foundas THE END OF THE TOUR Mitch Marlow Leading Sponsors Print Courtesy Sam Fragoso Champaign County Alliance A24 Héloïse Godet Technical Manager, for the Promotion of Acceptance, Inclusion Andrew Harvey Virginia Theatre GIRLHOOD Andrew Hall and Respect Print Courtesy Glenn Kenny Strand Releasing Jon Kilik Projectionists Steak 'n Shake Noah Lomax James Bond THE SON OF SHEIK University of Illinois at Leonard Maltin Travis Bird Print Courtesy Urbana-Champaign Box 5 Nell Minow Web site Omer Mozaffar Leone Advertising The Ebert Foundation A BRONX TALE Sheila O’Malley Print Courtesy Tribeca Enterprises Chazz Palmenteri Coordinators Sophie Kohn Official travel agent Michael Phillips IDA Namita Dewan Donna Anderson Print Courtesy Eric Pierson Sonia Evans Suzi Davis Travel Music Box Films Zak Piper Keith Pegues Alan Polsky WILD TALES Program Supervisor James Ponsoldt Print Courtesy Kristi Bruce Amatucci Sony Pictures Classics Erica Ramis Richard Roeper Graphic Design THE MOTEL LIFE Jason Segel Carlton Bruett Print Courtesy Matt Zoller Seitz Polsky Films Chair, Academic Panels Peter Sobczynski Dr. Norman Denzin 99 HOMES Brian Tellerico Print Courtesy ReBecca Theodore-Vachon Festival Program Broad Green Pictures The Daily Illini Laurel Ward Johnathan Hettinger and staff SEYMOUR: AN INTRODUCTION Susan Wloszczyna Print Courtesy Julieta Zylberberg IFC Films

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 15-19, 2015 • The Virginia Theatre 83 Sonsors Thanks for making the 2015 Festival possible

FILM CIRCLE SPONSORS $25,000 + DIAMOND SPONSORS $10,000 + Roger & Chaz Ebert Hollywood Foreign Press Association Champaign County Alliance for the Promotion of L.A. Gourmet Catering Acceptance, Inclusion, & Respect The News-Gazette * Steak ‘n Shake University of Illinois at Urbana-Champaign Shatterglass Studios

PLATINUM SPONSORS $5,000 + President & Mrs. Robert A. Easter Big Grove Tavern Debbie Hartman Busey

GOLD SPONSORS $2,500 + Steve & Susan Zumdahl Marsha Woodbury DIAMOND SPONSORS $10,000 + Carol Livingstone & Dan Grayson Betsy Hendrick Jim Johnson & Coleen Quinn SAGIndie Leone Advertising Tawani Foundation

BETSY HENDRICK

* The News-Gazette has made a one-time donation of $50,000 toward the HENDRICK HOUSE remodeling of the Virginia Theatre’s projection booth.

84 17th Annual Roger Ebert’s Film Festival SILVER SPONSORS SILVER SPONSORS FESTIVAL ASSOCIATES GIFTS-IN-KIND $1,500 + $1,500 + $250 + Stella Artois Thomas P. Squires Chuck & Lynn Nelson Doc Erickson Carter’s Furniture Stan Lanning & Colleen Quigley Ann Benefi el & Joseph Kunkel Barb Hulseberg CarltonBruettDesign Linda Smith Tabb & Charles Tabb Cobalt Digital, Inc. Ed & Nancy Tepper The Daily Illini Patty & Jon McNussen Cowboy Monkey Robert & Beth Zeiders Champaign Park District Maxine & Jim Kaler Guido's Chris & Anne Lukeman Virginia Theatre J. Michael Lillich Soma Ultra Lounge Holly Hildebrand News Talk 1400/Lite Rock 97.5 Linda & Nelson Barnes Jupiter's Pizzeria & Billiards Yvette Scheven Champaign-Urbana Mass Transit Midstate Collection Solutions, Inc. Seven Saints Troylene Ladner District (MTD) Lex Tate Tammy Schaefer & Acacia Stamper 40 North/88 West Fraeda & Gary Porton Chipman Design Architecture Thompson.McClellan Chuck & Eileen Kuenneth Jen Shelby MEDIA Ralph & Joe, Garcia’s Pizza DOUG LOVES MOVIES Illini Radio Group in a Pan Marsha Clinard & Charlie Boast MIX 94.5 Community Concierge Magazine Don Tingle WIXY 100.3 Champaign County Tent Bullock & Associates, REWIND 92.5 Sun Singer Wine & Spirits, LTD. Cheryl & Don Bullock WYXY CLASSIC 99.1 Cream & Flutter David Graham OLDIES 97.9 Rosati’s Pizza Sharon Shavitt & Steven EXTRA 92.1 Zimmerman HITS 99.7 Peter & Wanda Tracy WAND TV Presence Covenant Medical Center Illinois Public Media Robeson Family Benefi t Fund Cinespace Chicago Film Studios Elliott Counseling Group ChipmanDesignArchitecture Brand Fortner ATLANTA | BOGOTA | CHICAGO | LOS ANGELES | NEW YORK

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PATRONS $750 + Ashley Rodman & Matt Gladney Karen Leavitt Bill & Wilma O’Brien Paul & Martha Diehl Marge Perrino Ann Beddini Suzi & Don Armstrong Hilary Frooman & John Lee GIFTS-IN-KIND Carol Spindel & Thomas J. Bassett Leone Advertising, Website Tom & Regina Galer-Unti L.A. Gourmet Catering Todd Salen Fleurish Paul & Lynn Kane Einstein Bros Bagels Eric & Shirley Pierson Herriott’s Coffee Company Silver Creek & The Courier Cafe FESTIVAL FRIENDS $500 + Dianna K. Armstrong Greg & Anne Taubeneck Nell Minow & David Apatoff fleurish logo 2 Gary & Connie Wikoff Emmie Fisher FLEURISH One Main Development

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oierien Donoaae or phone ecomes ho aenar or ticket in nteractive eating hart

In the spring of 2012, the Champaign Park District launched the largest renovation project yet for the Virginia eatre since taking ownership of the historic facility in 2000. Major components of the project included restoration of the auditorium paint and plasterwork, installation of an elevator to transport patrons between the main and mezzanine level lobbies, upgrades of the electrical and stage systems, replacement of the seats and complete renovation of the basement dressing rooms. With improvements to the Virginia eatre come increased opportunities for community groups, including youth and community theater groups, educational curriculum for children, rentals, increased options for performing arts groups and an opportunity to become the cornerstone for cultural arts Help us finish the in downtown Champaign. But, there is still work to be done. e purchase of new lighting and sound equipment was not part of the latest renovation due to budget constraints, so renovation! your help is still needed. With your support, funds currently allocated for rental of this equipment will become available for other programs within the theatre and will help keep ticket prices for shows aordable. Our commitment to restoring this beloved facility is apparent to all who walk through her doors, and we pledge that same level of quality workmanship will continue with everything Champaign Parks Foundation is a 501(c)(3) charitable we do. Please donate today so we can continue our eorts to nonpro t providing philanthropic support for the ensure that the Virginia eatre remains a vital part of our community for generations to come. Champaign Park District.

Donate at champaignparks.com or thevirginia.org

88 17th Annual Roger Ebert’s Film Festival 8.25”

Coming In A Few Minutes!

10.75”

Starring THE DOUBLE STEAKBURGER™ WITH CHEESE! Featuring PREMIUM CUTS OF REAL STEAK! “A TRUE MASTERPIECE OF A MEAL” Let your imagination run wild as we take a few extra moments to sear your Steakburger™ on our super hot grill & give it those famous crispy edges, then toast your bun to perfection and finish dressing your sandwich just the way you’ve ordered it! Yes, it takes a little longer here than it might down the street, but remember, we don’t just warm up your food... WE PREPARE IT FRESH JUST FOR YOU! There’s Fast Food and Then There’s QUALITY FOOD MADE FAST!

“The resulting Steakburger is a symphony of taste and texture.” - Roger Ebert, Sun Times

Steak ’n Shake - Ebertfest Ad INK COLORS JOB HISTORY

23703 23703_SNS_Ebertfest_Ad_NEW.ai Date Description 01/29/14 MS - Update Burger to Casual/New Size Process 000000 000000 000000 000000 01/30/14 MS - Released CMYK 000000 000000 000000 000000

PRINT Separator: N/A This artwork has DESKEY APPROVALS THIS BOX been checked for 1 1 Application/Version: Illustrator CS4 ⁄2 x ⁄2 accuracy. However, INCH client review and FINAL SQUARE / % of File: 100% approval is required Proof Reader Date prior to release. We USE AS A Trim Size: 8.25” x 10.75” recommend that GUIDE Design Date color proofs be WHEN Bleed: 0.25” submitted for PRINTING 1:1 RATIO Deskey's approval Production Date FINAL ART FINAL Folded Size: N/A prior to THIS BOX reproduction. 10 x 10

DESIGN FROZEN MILLIMETER Deskey Contact: Debbie Happe Client Manager Date SQUARE 120 EAST 8TH STREET CINCINNATI OHIO 45202 T.513.721.6800 DESKEY.COM