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Tuesday, April 22 Illini Union 7 p.m. The Taking of Pelham 1401 W. Green Street, Urbana, IL Free and open to the public One Two Three Free student screening, Thursday, April 24, 2014 Saturday, April 26, 2014 hosted by Patton Oswalt Pine Lounge, 1st Floor Pine Lounge, 1st Floor Foellinger Auditorium, 9 a.m. – 10 a.m. 9 a.m. – 10:30 a.m. University of Illinois campus Challenging Stigma The State and Future of Through the Arts Wednesday, April 23 Moderated by Michael Barker, Ted Hope, 7:30 p.m. Life Itself Dr. Julian Rappaport Vanessa Hope and Chaz Ebert Moderated by Nate Kohn 10:15 a.m. – 11:15 a.m. Thursday, April 24 Reimagining Filmmaking for 9 a.m. – 10:30 a.m. 1 p.m. Museum Hours the Digital Age Filmmakers Workshop Moderated by Nate Kohn General Lounge, 2nd Floor 4 p.m. Short Term 12 9 p.m. Young Adult Friday, April 25, 2014 Cinematography for No Budget Pine Lounge, 1st Floor Filmmakers: Friday, April 25 9 a.m. – 10:15 a.m. Presented by Don Tingle Remembering Working with SAG-AFTRA 1 p.m. He Who Gets Slapped Moderated by Omer Mozaffar Low Budget Contracts: 4 p.m. Capote Presented by Kathy Byrne 10:30 a.m. – 11:45 a.m. 8:30 p.m. Do the Right Thing For more details about the Film and Cultural Politics workshop, see page 16. Moderated by Eric Pierson Saturday, April 26 11 a.m. Wadjda 2 p.m. A Simple Life 5 p.m. Goodbye Solo Wednesday, April 23, 2014 9 a.m. – 10 a.m. 9 p.m. Born on the Jim Turpin’s (WDWS-AM 1400) Interview Fourth of July

Sunday, April 27 Noon Bayou Maharajah

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2 16th Annual Roger Ebert’s Film Festival Welcome from Chaz Ebert ...... 5-7 Welcome from the University of Illinois ...... 9 WEDNESDAY, APRIL 23, 2014 Life Itself (7:30 p.m.) ...... 42 Welcome from the Festival Director ...... 11

Festival Dedication — Roger Ebert ...... 13 THURSDAY, APRIL 24, 2014

Museum Hours (1 p.m.)...... 46 Ebert Serves as Inspiration to Film Critics ...... 15 Short Term 12 (4 p.m.) ...... 48

Additional Festival Schedule Information...... 16 Young Adult (9 p.m.) ...... 50

Life-Size Tribute to Ebert ...... 17 FRIDAY, APRIL 25, 2014 Letter from a Far-Flung Correspondent ...... 19 He Who Gets Slapped (1 p.m.) ...... 54

Important Information About the Festival...... 21 Capote (4 p.m.) ...... 58 Do the Right Thing (8:30 p.m.) ...... 60 Dining Tips...... 25

Festival Guests ...... 27-39 SATURDAY, APRIL 26, 2014

Wadjda (11 a.m.) ...... 64 Local Couple Loves Ebertfest ...... 76 A Simple Life (2 p.m.) ...... 66

A Look Back at Last Year’s Festival ...... 79-81 Goodbye Solo (5 p.m.) ...... 68

...... Special Thanks...... 83 Born on the Fourth of July (9 p.m.) 70

Festival Sponsors ...... 84 SUNDAY, APRIL 27, 2014

Parking Information and Area Map...... 87 Bayou Maharajah (noon) ...... 74

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4 16th Annual Roger Ebert’s Film Festival year ago, on April 4, transplant. Donna wanted this 2013, my sweet Roger, a Thank you for honoring Roger’s memory and to be a gift from the communities visionary and a founder of of Champaign and Urbana to this Festival, transitioned out of for keeping his legacy alive. In the tradition their native son. Fortunately, this world into the next. So it is Donna is better and she and in his honor and in his spirit that of Roger, I encourage you to please greet her husband Scott (who worked I welcome you to the 16th edition tirelessly on the fundraising), of the Roger Ebert’s Film Festival. your fellow festival goers. As Roger used to will join us when the artist Rick He loved this festival so much, Harney unveils his sculpture. from it’s very beginning as an paraphrase a well-known movie title, they’re Rick’s story is also from the heart. event at the Krannert Art Center His son, who is autistic, loved to mark the birthday of HAL no longer strangers when they meet. Siskel & Ebert and spent many 9000, the computer in “2001: A happy times engaging his father Space Odyssey,” to its incarnation in discussions about movies and as the “Overlooked Film Festival,” I daresay there wasn’t a dry of suggestions for us to draw about Roger’s movie review books. intended for films or genres eye in the house as we realized from, and where possible we So undertaking this commission that had been overlooked. We that the “Ballad of Narayama” will incorporate his reviews, so was a very personal and discovered that some directors told the tale of a small village that the richness of his language meaningful decision for Harney. were reluctant to think of their in where the elders went and passions will enliven the We are fortunate he accepted. He films as “overlooked” so now the to the mountain top to meet Festival. High standards are has sculpted two other favorite festival is affectionately known as their gods when they were 70 also maintained through the sons of Illinois, Abraham Lincoln Ebertfest. years old as a sacrifice for the participation of our esteemed and Adlai Stevenson. Last year, Roger programmed younger generation. Roger was colleagues, the very learned film This is the 25th anniversary the 15th edition of the festival 70 years old when he left us. He scholars and historians professor of two films to which Roger gave almost single-handedly. In prior had insisted on substituting that David Bordwell and his wife, four-star reviews; “Do The Right years both Festival director film at the last minute without professor Kristin Thompson. We Thing,” by Spike Lee tackled Nate Kohn and I had played a explanation, and he wanted no are so grateful for their continued race relations and “Born On The bigger role in the discussion of discussion of it. We belatedly attendance. Fourth of July,” by Oliver Stone the films with Roger. But last understood why. Roger would This year we are privileged tackled the Vietnam War. I am year Roger had very specific have been delighted to know that to open the festival with “Life particularly pleased that both things in mind. It was only as Tilda Swinton led the audience Itself,” the documentary about directors will be with us because the Festival progressed that it in a dance-a-long to counteract Roger filmed by acclaimed director Roger enjoyed deep discussions became apparent to us that he the palpable pall in the air Steve James. James began filming about cinema and life with them suspected he wouldn’t be here caused by the freshness of our in December 2012. His plan was over the years. In the same vein, with us. Roger gave instructions mourning. Like a high priestess to follow Roger over the period will be here with for the Festival to open with a her movements magically changed of a year, but sadly, Roger passed “Goodbye Solo.” Roger had high sing-a-long inspired by the sound The Virginia Theater into a away four months into the praise for Bahrani’s filmmaking, bite from Orson Welles’ “Falstaff.” temple of praise and gratitude shooting. James did a magnificent and this will be a return visit for He said it was used by the late and allowed our sad energy to be job redirecting the trajectory of him after “,” and professor Daniel Curley, one of transformed into a joyous tribute the film, and the documentary “Chop Shop.” In fact, Ramin is his mentors at Illinois. He also to Roger. We will be forever won unanimous rave reviews currently working on a film that programmed emotionally poignant grateful to her for that moment. at the Sundance Film Festival. he had discussed with Roger. short films about loss and love by It was Roger’s wish to carry Steve, whose “Hoop Dreams” was Sadly, Roger will not get to see Grace Wang and Sophie Kohn and on the tradition of Ebertfest and championed by Roger 20 years it, but Ramin said he sometimes poetic, elegiac ones like “Days of in our selection of this year’s ago, will be with us. imagines Roger along in the Heaven,” “Ballad of Narayama,” roster of films we are attempting We will also have the privilege process. and “Vincent,” by Paul Cox, one of to maintain the high standards of unveiling a statue in Roger’s Michael Barker, a co-president his favorite festival guests. Cox’s he set, knowing how much it honor outside of The Virginia of Sony Pictures Classics studio, own health challenges caused his meant to him. He likened the Theater. I call it a statue from the has been a good friend of the absence from the festival, but we Festival to the greatest train set heart since the Festival’s travel Festival from the beginning. could imagine both Roger’s voice a boy ever had. What film critic coordinator, Donna Anderson, Roger always praised Barker’s and Paul’s in some stretches of wouldn’t want to show only the made it her mission to deliver intelligence and good taste in narrative during the showing of films he thought worthy? Over the completed project when she “Vincent.” the years Roger left long lists was in the hospital for a heart continued on page 7

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 5 6 16th Annual Roger Ebert’s Film Festival continued from page 5 movies. He will present two of and audiences on the festival Illinois alumnus. So Ebertfest his studio’s films. “Wadjda,” the circuit, and we are pleased to is close to his heart. He made a first feature shot in Saudi Arabia present it. commitment to Roger to carry on, by a female filmmaker from that Our friends the Alloy Orchestra and he has been resolute in that country, is about a girl who (Ken Winokur, Roger Miller and commitment. Mary Susan Britt covets a bike even against the Terry Donahue) will return for the makes everything run and despite prevailing thought and custom. 13th year with their composition the challenges we present her The director Haifaa Al-Mansour for the 1924 , “He Who with, she remains level-headed, will be a guest. Barker is also Gets Slapped.” After seeing them organized and diplomatic. She presenting “Capote,” the award- once at Telluride, Roger knew heads a dedicated staff, including winning film starring the late he wanted them for Ebertfest, many volunteers whose smiling Philip Seymour Hoffman. Roger and they haven’t disappointed. faces have become familiar over said, “Hoffman’s precise, uncanny And closing the festival with a the years. performance as (Truman) Capote musical bang will be Lily Keber’s Steven Bentz and his cheerful doesn’t imitate the author so documentary about a one-eyed, staff at The Virginia Theater Chaz Ebert, Executive Producer and Host much as channel him.” We are gay overlooked New Orleans put out the welcome mat. happy to welcome the film’s musician called the “Bayou The Champaign Park District guides for festival guests. We director, Bennett Miller. Maharajah.” Our festival director and the Champaign Police thank them for their loyalty and Roger praised two international Nate Kohn is a producer. I am Department are always helpful. continuing support. films that we have included thrilled to report that we will Betsy Hendrick throws her now- Thank you to Leone Advertising in our roster. “A Simple Life,” have a live performance by New legendary Saturday night party. who is our invaluable webmaster about a Hong Kong servant who Orleans musician Henry Butler. Where would we be without at ebertfest.com; Carlton Bruett has served generations of the In addition to the films we will our fabled projectionist James who is responsible for the posters same family, but who now must present stimulating panels about Bond who recently worked on and the look of the Festival; and depend on the family member the future of the film industry, outfitting the Virginia with new The Daily Illini, which produces for caregiving after she suffers a led by Ted Hope, the new head digital capability in addition this splendid program. stroke. We are happy to welcome of Fandor.com, who previously to maintaining our capacity to And once again I want to call the director Ann Lui. And stirred controversy in Hollywood screen in celluloid. attention to our Ebertfest iPad “Museum Hours” is director Jem with his wake-up call to the We thank our friend Bertha App from Shatterglass Studios. Cohen’s film about a guard in a studios. Another panel will be led Mitchell, who serves her famous The app contains every Festival Vienna museum who befriends by our Far Flung Correspondents, downstate barbeque from the interview, photograph, review, a foreign visitor. This doesn’t whom Roger gathered from the tent in front of the theater. She panel discussion, link and artifact begin to describe what this film corners of the globe. This year we came back year after year all that we could find from the first is really about, and I hope the may possibly have visitors from while trying to support her gifted 15 Ebertfests. It is available on director will forgive this generic Turkey, Australia, Dubai, India, hockey-playing son Marcus in iTunes and updated annually. description. He will be a guest. Poland, Egypt, California, Canada, Canada and the U.S. Mrs. Mitchell Our thanks to Shatterglass for Our college crowd is pretty Mexico and Chicago. and other vendors make it doing this and for the spectacular jazzed that comedian and actor I am grateful to Roger’s alma convenient for our festival-goers festival videos they do for us Patton Oswalt will be here with mater, the College of Media, to grab a bite to eat in between every year. Look for Luke Boyce “Young Adult,” a film directed by of the University of Illinois at movies. and Brett Hayes, the Shatterglass Jason Reitman, starring Oswalt Urbana-Champaign, for making Thanks also goes to the Illini guys, in the east lobby during the and Charlize Theron. Oswalt was it possible to gather once again Union which plays host for most Festival. supposed to come to Ebertfest and welcome the 1,500 guests to of our guests in the heart of the And finally, I want to thank the the year we showed, “Big Fan,” The Virginia Theater. So I say a campus. festival goers who keep coming but he wasn’t able to make it. He special thanks to Dean Jan Slater, Our sponsors are crucial. They back year after year. Thank you promised Roger he would make it to University of Illinois President help make the festival possible. for uncovering cinema gems with up to him. And he is keeping his Bob Easter and his wife Cheryl, Without their financial support Roger over the years. And also word. Oswalt is much in demand, and to Chancellor Phyllis Wise, for we could not undertake the thank you to those coming for the recently emceeing the Spirit their generous support. Roger and festival year after year. Some first time. Thank you for honoring Awards the day before the Oscars, I announced the start of a Roger sponsors have been with us all his memory and for keeping his and he will also emcee the Webby Ebert Film Studies program, and I 16 years; some are with us for legacy alive. In the tradition of Awards, of which Roger was a hope to work with them to make the first time this year. We say Roger, I encourage you to please recipient in 2010. it a reality. We may need to call a special thanks to some of our greet your fellow festival goers. Two of our other guests were on you for help. leading sponsors: The Champaign As Roger used to paraphrase a also at the Spirit Awards with From Day 1, professor Nate County Alliance for the Promotion well-known movie title, they’re no their nominated film “Short Term Kohn from the University of of Acceptance, Inclusion and longer strangers when they meet. 12,” Brie Larson (“ ’s Grady College has Respect and Steak n’ Shake. of Tara”) and Keith Stanfield. This been the festival director. Nate Volunteers serve in many ways, Rest In Peace my Dear Husband. film has been a favorite of critics is an Urbana native and an including serving as drivers and – Chaz

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 7 8 16th Annual Roger Ebert’s Film Festival

elcome to Ebertfest I know you’ll have a world. In a time when media is — a film festival wonderful time at this year’s so pervasive and so accessible, that we at the festival, and you attend because this is a special opportunity. University of Illinois at Urbana- of the opportunity to see these You can stream these movies Champaign simply describe films from new perspectives and to your phone or a laptop any as the finest film festival in hear about the stories behind place at any time. And their the world. Argue if you want, them from different voices. And artistic merits would still stand but when you look around once again, I think everyone out. The Virginia Theatre or sit in will walk away proclaiming this But there will only be one a coffee shop buzzing with Ebertfest as the best ever. moment, ever, where you will movie conversations, this event We are so proud to be the watch these movies in a crowded transforms our community every host of this event that turns theater where Roger Ebert grew single year. For a few days, all an international spotlight on up. It is a shared, singular and of us step out of our daily lives, our community and that makes fleeting moment for which you sit back in a darkened theater all of you holding one of those literally, “had to be there.” Phyllis M. Wise and see where an imagination coveted passes the envy of film Thanks for being here. This is Chancellor, University of Illinois at and a camera can lead. fans and critics around the going to be a great week. Urbana-Champaign

Welcome to Ebertfest! guests who come to share their graciously to make this event experiences making these films. the best each year. Many thanks he College of Media We expose students to some of to our sponsors who return each is proud to be your the greatest storytellers of our year to make Ebertfest possible. host for Ebertfest, and generation. And to our own community our pride is only intensified Ebertfest brings us together to volunteers and students — your as we celebrate the life and revel in film, to share a unique support means the world to us. contributions of our dear Roger. experience and to pay tribute to Finally, thanks to all of you, If this is your first Ebertfest, those that make this a reality. the movie lovers. Your love this will be an experience like Many years ago, Roger and Chaz of the art of storytelling and no other. We are delighted you committed to giving back to filmmaking keeps us looking are with us and feel certain the University of Illinois and to toward the future. Thank you for this will not be your only this community, and they have your support and for joining us Ebertfest. For those of you done so beyond any expectation. for this annual tribute to great who have joined us before — Because of their love for this movies and to a great movie Jan Slater welcome back. Your support place and for the movies, we can critic. Dean, College of Media, University of and enthusiasm recharges our experience and appreciate film The College of Media at the Illinois at Urbana-Champaign batteries each year. as it was meant to be. For that, University of Illinois welcomes Ebertfest is a very special we are eternally grateful. you to the best show in town. time in our community. We Our heartfelt thanks go to We appreciate your support and welcome movie lovers from Mary Susan Britt and Nate Kohn delight in your enthusiasm for around the world who make who organize and direct this what the next few days bring to Champaign-Urbana their home festival. It requires logistics that Champaign-Urbana. for a week. We roll out the would humble ordinary humans. red carpet for the industry They work tirelessly and Enjoy the show!

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 9 10 16th Annual Roger Ebert’s Film Festival

is a great privilege to dropped the word “overlooked” they emerge as the festival plays of Acceptance, Inclusion and welcome you to the 16th from the name of the festival. A out, discoveries that you, our Respect, Steak ’n Shake, Betsy annual Roger Ebert’s Film couple of directors complained audience, make in discussion Hendrick and Shatterglass Festival, a special event of the that they were not overlooked, with each other and then bring Studios; and to our Diamond University of Illinois’ College and of course they were right. to our attention. For our festival Sponsors: Leone Advertising, L.A. of Media in partnership with But we still show films that are is about sharing, and community, Gourmet Catering, and The News- the greater Champaign-Urbana either little known or can be seen and Roger Ebert, and the love of Gazette. community and lovers of movies in a different light, given cultural great movies. Roger was — and continues everywhere. shifts and new perspectives. We would like to thank to be — Steak ’n Shake’s biggest I have written variations of So this year we celebrate the Paramount Pictures, Sony Pictures booster. In the early years of the that opening sentence since 25th anniversaries of “Do The Classics, Universal Pictures, festival, Roger, Chaz, Dusty, Joan we started the festival in 1999. Right Thing” and “Born on the Warner Bros, Park Circus LLC, and other guests would invariably This is the first time we’ve put Fourth of July,” both dealing The Cinema Guild, China Lion end up at Steak ‘n Shake after together a festival without with issues that are as relevant Film Distribution, Cinedigm, Lily the last show on Thursday night Roger’s active participation in the today as they were in 1989. And Keber, and Roadside Attractions and carouse there until the wee process, yet it feels to us as if he building on that base we create a for graciously providing us with hours. In the past few years, is still here, making suggestions, heady confection with the poetic their very best 35 millimeter and our far-flung correspondents giving us guidance, watching over “Museum Hours” and the bluesy digital prints. always include Steak ‘n Shake us and our Ebertfest, his very “Bayou Maharajah,” as well I also want to thank all of our as part of their tour of festival personal festival. as films from China and Saudi sponsors, volunteers, festival landmarks. And, of course, Mary And so this year, Chaz and I Arabia, 1924 and 2013, from old pass holders and individual Susan Britt and I have been have selected films that are true friends like Ramin Bahrani and ticket holders for their welcome known to frequent the South to Roger’s original vision for new ones like Patton Oswalt and participation in this endeavor. We Neil Street branch on more than Ebertfest: films that contribute Brie Larson. We only show 12 look forward to your unwavering one occasion during the festival. to our celebration and shared films each year, but those films, support as our festival continues Steak ‘n Shake is sponsoring our enjoyment of great movies, films taken as a whole, show us the to blossom each year in the showing of Steve James’ “Life large and small that are projected breadth, potential and wonder of central Illinois spring. Itself” at this year’s festival. as they were meant to be seen by cinema. A particular thanks goes out One of our most dedicated those who made them. Ebertfest Every Ebertfest has multiple to our Film Circle Sponsors: Roger sponsors, the Champaign County is and always will be about the themes, but we don’t construct and Chaz Ebert, Champaign Alliance for the Promotion films. We give no prizes and have the festival around them. Rather County Alliance for the Promotion of Acceptance, Inclusion and no categories, and no business is Respect, in addition to sponsoring done at our festival. That’s how our showing of “Short Term 12,” we conceived the festival, and We still show films that are either little is holding a panel discussion on that’s how it will always be. Thursday morning at the Illini I remember when we first known or can be seen in a different light, Union. Please plan to attend this discussed doing a festival. It was free event. We thank the Alliance 1997 and we’d just shown “2001: given cultural shifts and new perspectives. for realizing the power of film to A Space Odyssey” at the Virginia change minds and attitudes, for Theatre as part of the University’s supporting our festival and for all birthday party for HAL, the the good it does year after year fictional computer. Roger and in Champaign County. I got to talking about what Finally, I want to recognize makes a successful film festival. Associate Festival Director Mary We agreed that movies are best Susan Britt, College of Media dean seen on a really large screen. Jan Slater, President and Mrs. And watching a movie is not Bob Easter and Chancellor Phyllis something to be done alone — it Wise, without whose hard work is a communal activity, bringing and enthusiastic support this together friends and strangers in festival would not be possible. a mutual emotional adventure. This festival is Roger Ebert’s It was Roger’s idea to show gift to his hometown, and, for films that have been overlooked that, we thank him and his wife by audiences, critics or Chaz. They continue to be a distributors — films that deserve remarkable team, and it is an a second look. We have since Nate Kohn, Festival director honor to work 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 11

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12 16th Annual Roger Ebert’s Film Festival

Roger Ebert was honored something else? Fortunately the characters on the screen. was a shared belief: Film is the posthumously with the Illinois for us in the film world, we will He would show us how film can most important art and it has the never know. help us understand, and become power to change the universe. Prize for Lifetime Achievement While words ran in Roger’s whole. His was an engaged I never saw Roger happier than in Journalism on Feb. 11, blood, but film was in his heart. journalism: A journalism in when he discovered a film he 2014, by the College of Media’s He contradicted the conventional which words have the power to thought was great. stereotype of a journalist or change things. In this sense, Roger was a part Department of Journalism, critic as a dispassionate and Through Roger’s writing, we of all of us. He belonged to our University of Illinois. This speech distanced investigator and could feel the urgency of what community of filmmakers and was given by Milos Stehlik at communicator of facts. Roger the filmmaker was trying to say. film lovers. That community is knew that film was something The great lesson which Roger a global community, stretching that event. The 2014 Roger Ebert’s messy and intangible, which Ebert taught: Film was not about from Hollywood to Mumbai, Film Festival is dedicated to Roger. could not be easily objectified or drama or character, it was about Munich to Tehran. I remember quantified. Film is about love and us, the audience. It is about Roger’s enthusiastic embrace of fear, about dreams and failure, helping us be, and be better. the film, MOOLADE, by the great know Roger Ebert for more about an individual’s potential to It is what made him unique Senegalese filmmaker Ousmane than 40 years. I use the alter his or her destiny. Film is and irreplaceable. You can’t learn Sembene — a film intended present tense consciously, to empower African women to because for me, his words still band together and resist genital breathe, and through them, so mutilation, or Iranian filmmaker does he. Despite the fact that Through Roger’s writing, we could feel the Tahmineh Milani’s feature TWO television is what gave Roger urgency of what the filmmaker was trying to WOMEN — the story of two a national platform and an school friends forced to choose influence far beyond what was say. The great lesson which Roger Ebert a life of oppression because possible through newspapers, I they are women living in a rigid think his heart always belonged taught: Film was not about drama or society. It’s paradoxical that to print. Walking to deliver him Roger was ALL Illinois — a press kits or screeners, past the character, it was about us, the audience. proud Chicagoan but even more presses on the ground floor of It is about helping us be, and be better. proud of being a native son of the old Sun-Times building was Champaign-Urbana. a powerful symbol that words These were not films backed by needed paper and ink to spread, large studio campaigns or coming to take flight, to penetrate about individuals trying to find this in journalism school. You with a lot of buzz. The films lives. For me, Roger belongs to the strength to reassert their have to BE it. For Roger, this needed help to be recognized and a generation of journalists for goodness, to save other lives pact which I think he made with appreciated. And Roger Ebert, whom journalism was not just and to be saved in turn. Roger himself gave him the permission film critic, led the charge. a profession, but a culture and knew that film could only be to be something more than a For me, the great gift that he a way of life. This goes beyond approached with passion. journalist: to be a champion. The left us was not only his personal hanging out at O’Rourke’s. The Roger engaged that passion to films and filmmakers who owe portrait of courage, but his faith most sacrosanct — and non- communicate this uncertainty the success of their films and that the spreading of the love of negotiable — sentence I heard of our human existence. He their careers to Roger is long: film through journalism would him speak was “I have to write.” fashioned a different kind Greg Nava and Anna Thomas and continue through an investment Writing was life itself. When of film criticism. His writing “El Norte,” Werner Herzog and in the next generation of talented Roger moved to television and would communicate constructs “Aguirre, the Wrath of God,” Errol young critics — RogerEbert.com. then online — it was still words of a filmmaker’s imagination. Morris and “Gates of Heaven” These young journalists, too, which had the magic to engage Roger’s writing would be the — just three examples from my can shout out that it is film minds and make those minds see. glue between the souls of the personal experience. which has the power to unite us, What would Roger Ebert have characters on the screen and our Roger’s message for these films to make us understand people been if he had not been given souls. Roger would be the writer, and for scores of others was at other than ourselves, to open our the job of film critic at the but he would also be the shaman, once uniform and clear, “This film hearts. Chicago Sun-Times and remained channeling the mysteries of film, HAS TO EXIST.” Thank you, Roger Ebert: Film a sports writer or written aligning our spirits to those of Inherent in this evangelism has never had a better friend.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 13

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14 16th Annual Roger Ebert’s Film Festival By Declan Harty, The Daily Illini

rom his review of “La Dolce Vita” in 1961 for The Daily Illini to his final Chicago Sun-Times review of “To the Wonder,” Roger Ebert published countless film reviews. Even with the ever-changing film industry, and hundreds of sub-par films, one of Ebert’s lifelong loves was the cinema. “He was more than a fan, he felt a passion for the art form that went beyond just liking movies,” said Susan Wloszczyna, a film critic for RogerEbert.com and a former USA Today entertainment reporter. “He really wanted to encourage the best of film making.” Photo courtesy of Ebertfest Roger Ebert looks on in downtown Chicago. This year’s Ebertfest is dedicated to the Festival’s founder, a Pulitzer Prize- Ebert began reviewing films winning film critic who with his iconic thumbs-up, thumbs-down reviews become one of the most well-known and well- for The Daily Illini, the student respected pundits in the country. Ebert died early April last year after a battle with cancer. newspaper at his alma mater, University of Illinois, as a American Film Institute in 2004 reading Ebert’s reviews in the watch whether it was the most sophomore in 1961. His first after receiving an honorary Sun-Times at the age of 5 and formulaic multiplex (film) or review was of “La Dolce Vita,” degree. “I sincerely believe to even wrote Ebert a letter when the most low budget indie,” and though Ebert acknowledged see good films, to see important he was 7 years old. He received Minow said. “He really brought that the movie was one of the films is one of the most one back, along with movie all of himself to everything he greatest films he had seen in a profoundly civilized experiences passes. Sobczynski said Ebert watched, and that was just an note before his review, he said, that we can have as people.” not only shaped the style of unbeatable combination.” “obviously that was not my From the Chicago Sun-Times how many looked and wrote Wloszczyna, Sobczynski and first impression” of the film. to the other 200 newspapers about films, but also he shaped Minow will all be in attendance Following his first review at to which Ebert’s reviews were the way the audience saw at this year’s Roger Ebert’s Film the newspaper, Ebert would syndicated, his words touched movies. Festival, they said, which is go on to spend the next 50 and inspired many in their “He helped his readers define in honor of its founder. It will years of his life writing of his lives. their taste, by showing them not solely commemorate his passion: film. Peter Sobczynski, a film all the things that film could life, but it will also honor his “The motion picture is the reviewer for RogerEbert.com, achieve outside of being a way passion for film and his love for most important art film ever said Ebert was an inspiration to kill two hours on a Saturday the art. devised by the human race,” for him in his career path. night,” Sobczynski said. The festival will open with Ebert said in a speech at the Sobczynski said he began Another contributor to a tribute to Ebert with a RogerEbert.com, Nell Minow, screening of the film, “Life said Ebert was also a crucial Itself,” the film adaptation of inspiration for her career choice Ebert’s memoir. “He helped his readers define their taste, by now. Minow said as a 15-year- “I think it is going to be very showing them all the things that film could old who read the Sun-Times emotional,” Wloszczyna said of regularly, Ebert was exciting her expectations for this year’s achieve outside of being a way to kill two because he was a young festival. “He was honest, he reviewer who loved film. wasn’t just doing it to glorify hours on a Saturday night.” “He never got numb. He himself. … He did truly love — Peter Sobczynski — always opened his heart fully movies, and I think that is to every movie he sat down to what we are keeping alive.”

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 15

9 a.m. – 10:30 a.m. General Lounge, 2nd Floor From The Virginia Theatre to the Illini Union: t5VSO3*()5 TPVUI POUP//&*-453&&5 Cinematography for No Budget Filmmakers t5VSO-&'5POUP&413*/('*&-%"7&/6& Presented by Don Tingle t5VSO3*()5POUP483*()5453&&5 Working with SAG-AFTRA Low Budget Contracts t5VSO-&'5POUP8(3&&/453&&5 Presented by Kathy Byrne t5IF*MMJOJ6OJPOXJMMCFPOUIFSJHIU This workshop will teach basics of cinematography for the beginner, hobbyist or penny pinching filmmaker. The quality of your movie depends less on what camera you use than how you use it. The cinematographer decides how to shoot the film — what shots to get, where to put and how to move the camera, how much "MMGJMNTXJMMCFTIPXOBUUIFIJTUPSJD7JSHJOJB5IFBUSF 81BSL  light is needed, what picture composition (framing) to use, what $IBNQBJHO *-'FTUJWBMHVFTUTXJMMBQQFBSPOTUBHFBGUFSFBDIGJMN camera settings to use or what filters to add. Whether you are to join the audience in discussions about the films. Festival passes shooting with a cell phone, “point and shoot” camera, consumer  *OEJWJEVBMUJDLFUT  BOETUVEFOUTFOJPSDJUJ[FOUJDLFUT video camera, or DSLR, this workshop will show you some skills,  POTBMFBUUIF7JSHJOJB5IFBUSFCPYPGGJDF  techniques and tools that will make you a better cinematographer. Also, learn about the low budget contracts that SAG-AFTRA has to For more information contact: offer — everything from a no budget Student Film or Short Film to Mary Susan Britt a $2.5 million dollar feature film. Signing a SAG-AFTRA low budget [email protected] contract will enable you to have professional actors work on your  film. The paperwork is much easier and the cost is much less than College of Media you would think. Come see for yourself!

16 16th Annual Roger Ebert’s Film Festival By Ryan Weber, The Daily Illini

oger Ebert spent just the first quarter of his life in Champaign- Urbana, but a statue of the late film critic will live forever just outside of The Virginia Theatre. Announced in September, just five months after Ebert died from years of battling cancer, the life-size bronze sculpture depicts the Chicago Sun-Times critic sitting among three movie theater seats as he gives a signature thumbs-up. Sculptor Rick Harney designed it so that residents and Ebertfest-goers could pose with him in the seats on either side of him. Normally, when Ebert would review a film, he would sit on an aisle seat. Originally, the statue’s price tag read $122,500, but it dropped by $10,000 when Photo by Ryan Weber, The Daily Illini Sculptor Rick Harney created a model of a planned Roger Ebert statue to be placed in front of The Virginia Theatre in Champaign agreed to pay to Champaign. There have been a few alterations since the original model, pictured above, was unveiled in September. light it and cover installation costs. The money will cover sculpture weigh more than labor, materials and other 1,200 pounds. dedication costs. Scott “Roger’s example of giving back to the At the request of Chaz Ebert, Anderson, who has led the Harney sculpted the Pulitzer funding campaign, said he’s community while persisting through Prize-winning critic to look as received large donations from huge health challenges is he did in his late 50s or early Ebert’s wife, Chaz, the Alice 60s, which is about how old he and Gene Lamb Foundation something to be emulated.” was when the festival began. and director Martin Scorsese. The spirit of the eponymous Roughly 150 people or — Scott Anderson — founder of Ebertfest will live organizations have donated or on at the Festival, boosted by pledged money, but Anderson the statue’s presence, Anderson said the project could still use editor-in-chief in the early ’60s. the cities of Champaign and said, and it will serve as a more help. And, of course, he began his Urbana, the Champaign Park reminder for what Ebert did for “We hope the attendees film festival here to celebrate District and the College of the community. think it’s a nice thing and get his favorite yet overlooked films Media, and it has elicited a “Roger’s example of giving involved with it,” he said. through the years. welcoming support in the back to the community while Champaign-Urbana residents Anderson’s wife, Donna, community. persisting through huge health are familiar with Ebert’s originated the idea of bringing Since the plan’s unveiling in challenges is something to be generosity. He set up the Roger an Ebert statue to the area a the fall, not much changed in emulated,” Anderson said. Ebert Center for Film Studies at few years ago because “it would the design, Harney said. Ebert the University of Illinois’ College be a wonderful thing to honor sits more upright and his right The statue of Roger Ebert of Media and helped raise him,” she told The Daily Illini in arm is slightly more raised money to pay off the heavy September. than the original clay model. will be unveiled at noon on debt of The Daily Illini, the The project has brought Harney estimates the 35 pieces Thursday, April 24 outside student newspaper Ebert led as together the Public Art League, that make up the completed of The Virginia Theatre.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 17 USDA CHOICE AGED STEAKS SIGNATURE SALAD BAR “GRILL YOUR OWN” STEAK FULL BAR + WINE LIST FAMOUS SKILLET COOKIE DESSERT

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18 16th Annual Roger Ebert’s Film Festival By Michael Mirasol, April 26, 2012. Michael will be back with us at Ebertfest this year.

sually at this time of year, experience that might go I am at the University of extinct. They stay long Illinois, taking in the sights, afterwards to ask moviemakers scents and sounds of Champaign questions, and the moviemakers Urbana. At this moment, I’d be are moved that we are moved. waking up in the Illini Union, There are no movies that taking in the abundance of are being marketed or sold. No youth walking through its halls. paparazzi chasing down stars Inspired by the vigor and hope I for sound bytes. There is a see in the students that I would trust that exists here that you see walk past me. can find nowhere else. It exists I would walk out of the because Roger Ebert reaffirms back entrance and be in awe that trust by what he selects at the Quadrangle, overcome and how he maintains this by even more campus denizens Photo courtesy of Ebertfest festival landscape. Omar Moore, Gerardo Valero, Michael Mirasol, David Bordwell, Seongyong Cho and walking through the grounds. Omer Mozaffar at the 2010 Ebertfest. As a film critic, I miss I’d walk along with them, Ebertfest dearly for these looking at the history in the reasons and more. I miss green and mahogany around I think we should all call Ebertfest what it knowing that a major critic gets me. The architecture, the trees, to ride in the trunk of a 4×4, the sheer space and Spring is really is to all those who love Roger and film. just as I did. I miss finding out intoxicating, if only for the Chaz Ebert’s favorite karaoke short time that I would have it Camp Ebert. song is Rapper’s Delight, and at UIUC. seeing her tearing up the mic. I But I’m not there this year, miss the BBQ at Black Dog, the not there to share in Ebertfest, the Virginia Theatre. An actual sausages smoking. You know it’s double guacamole steak burgers where wondrous films will be Movie Theatre! Not one of cooked. at Steak N’ Shake, chatting with seen in a secluded place far those fancy multiplexes with There’s the audience. That David Bordwell (with him doing away from the world’s worries cushy seats. It’s got history in Midwestern small town feel most of the chatting), hearing and concerns. I won’t be able to it. Donald O’Connor of “Singin’ that you never want to leave. people in the know dishing out see dear friends I’ve made in the In The Rain” danced up on its Before and after screenings, the dirt, and meeting some of past two years, people who I’ve stage in the age of Vaudeville. people chalked up random my heroes, whether they write come to care for deeply because Would that be something you’d conversations with me. “What about films, or help make them. we care about the same things. want to tear down just for a do you think it will be like?” I miss it because I learn These silly little treasures called comfortable derriere? “What did you think?” The something every time I set foot movies, the kind that stay with The theatre is lush, with most common question I would on its grounds. I miss meeting you, grab you, and don’t let go. hues of rouge surrounding always hear was, “Wasn’t that fellow movie lovers I’ve met My heart aches. you. Taking my seat, I stepped great?” online and off, who have gone The first time was the best. back in time, recalling those I’ve also been scolded for on this pilgrimage with me. I Speaking at panels, illuminating old saturday matinees of my chatting during a screening. I miss disagreeing with my critic my world of film with foreigners youth. The screen is majestic, welcomed it. These movie lovers friends after a bad film, and curious about what lies beyond wide in its breath, larger than don’t mess around. smiling with them in quiet their borders. I share strange most theaters without the These people around me unison during a good one. perspectives with fellow overpowering feel of an IMAX weren’t merely an audience. Most of all, I miss spending strangers from strange lands, screen. For those five days, they were quiet moments with Roger, a but without the alienation. Just There is a balcony. An honest my neighbors, a concept that friend and teacher who gave me love and enthusiasm. We don’t to goodness balcony that seems to be sadly disappearing. so much. Who gave all of us so speak in an auditorium down to seems to have gone the way I would see many folks in much. This is one of the very an audience. We share in a room of the dodo everywhere else. the same seats day after day, few things I can do for him in just paces away from those There’s popcorn and snacks, coming to see overlooked films return. I think we should all call facing us. We see each other but how I miss the sandwiches because they knew they weren’t Ebertfest what it really is to all closely. We listen. being cooked right outside going to be disrespected, and those who love Roger and film. Then come the movies in the theatre. You can see the loved the communal moviegoing Camp Ebert.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 19 All Q&A sessions and panel discussions will be streamed live on the Internet at

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20 16th Annual Roger Ebert’s Film Festival Things to know about Ebertfest

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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 23-27, 2014t5IF7JSHJOJB5IFBUSF 21

22 16th 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 23

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.

24 16th Annual Roger Ebert’s Film Festival 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 25 26 16th Annual Roger Ebert’s Film Festival A warm welcome to our Special Festival Guests

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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 23-27, 2014t5IF7JSHJOJB5IFBUSF 27 States of Tara, appeared as a masterpieces of the silent era. guest star on Bored To Death and An unusual combination of Flight of the Conchords on HBO, found percussion and state-of-the- The Sarah Silverman Program on art electronics gives the Orchestra Comedy Central, and the SyFy the ability to create any sound series Caprica. Oswalt was also a imaginable. Utilizing their famous regular contributor to Countdown “rack of junk” and electronic with Keith Olbermann, Real Time synthesizers, the group generates with Bill Maher and Lewis Black’s beautiful music in a spectacular Root Of All Evil. In 2009, Oswalt variety of styles. They can conjure appeared in Steven Soderbergh’s up a simple German bar band of The Informant, and Observe and the 1920s or a French symphony. Report with Seth Rogen. The group can make the audience Oswalt provided the voice think it is being attacked by for Remy the rat in Pixar’s tigers, contacted by radio signals Oscar®-winning Ratatouille, from Mars or swept up in the and characters on Word Girl and Russian Revolution. Neighbors from Hell. He has Terry Donahue (junk percussion, appeared in more then 20 fi lms accordion, musical saw and including Magnolia, Starsky and banjo), Roger Miller (synthesizer, Hutch and Reno 911!: Miami. percussion) and Ken Winokur He starred in The Comedians of (director, junk percussion and Comedy, which was shot as an clarinet). independent feature fi lm, a TV series and a long-running tour. Oswalt tours regularly and extensively, headlining both Capote in the U.S. and U.K., and is a Friday, April 25, 4 p.m. regular at music festivals like Bumbershoot, Bonnaroo, Comic- BENNETT MILLER (producer/ Con and Coachella. He also has director) is an Academy Award® a regular bi-monthly show at the nominated fi lm director and new Largo at the Coronet Theater producer best known for Moneyball in Los Angeles. On TV, he played and Capote. Spence on The King of Queens on Miller’s most recent feature, CBS for nine seasons and appeared Foxcatcher, tells the story of on Seinfeld, Reaper, Aqua Teen Olympic Gold Medal-winning Hunger Force and Tim and Eric’s wrestler Mark Schultz (Channing Awesome Show, Great Job! Tatum) and the self-destructive Oswalt’s fi rst published book, spiral he is driven to after moving Zombie Spaceship Wasteland to the estate of eccentric multi- (2011) was a New York Times millionaire John du Pont (Steve bestseller. Carell) to train for the 1988 Seoul Olympics. Based on actual events, Foxcatcher is a gripping and profoundly American story of He Who Gets fragile men who pin their hopes Slapped for love and redemption on a Friday, April 25, 1 p.m. desperate obsession for greatness. Moneyball (2011) chronicles the story of the 2002 Oakland ALLOY ORCHESTRA is a three-man musical ensemble, writing and Athletics baseball team and its performing live accompaniment general manager Billy Beane. The to classic silent fi lms. Working fi lm received substantial critical praise, and went on to receive 6 with an outrageous assemblage of ® peculiar objects, they thrash and Academy Award nominations, 4 Golden Globe® nominations, grind soulful music from unlikely sources. Performing at prestigious and 2 Screen Actors Guild awards fi lm festivals and cultural centers nominations, in addition to nominations from AFI, BAFTA, PGA in the U.S. and abroad (The Telluride Film Festival, The Louvre, and WGA. Lincoln Center, The Academy of Miller earned an Academy Award® nomination for Best Motion Pictures Arts and Sciences, the National Gallery of Art and Director for the 2005 drama Capote, starring Philip Seymour others), the Alloy Orchestra has ® helped revive some of the great Hoffman in his Oscar -winning performance as Truman Capote

28 16th Annual Roger Ebert’s Film Festival during the research of his The Original Kings of Comedy, groundbreaking true crime Bamboozled and Summer of novel, In Cold Blood. For Capote, Sam. Lee’s fi lms Girl 6, Get on Miller also earned a nomination the Bus, Do the Right Thing and for BAFTAs David Lean award Clockers display his ability to for direction, and a Directors showcase a series of outspoken Guild of America nomination for and provocative socio-political outstanding feature directorial critiques that challenge cultural achievement. assumptions, not only about race, Coming NTheet Miller made the acclaimed but also class and gender identity. 1998 documentary-portrait The Lee began teaching a course Cruise about tour on fi lmmaking at Harvard in Sleepinping guide Timothy “Speed” Levitch. 1991, and in 1993 he began as a The fi lm garnered considerable professor at NYUs Tisch School of critical praise and notable the Arts Graduate Film Program, awards, including the top prize where he received his MFA in Film Beaeauty of the International Forum at the Production. In 2002 he was ap- Berlin Film Festival. The fi lm was pointed the Artistic Director of released theatrically by Artisan the Graduate Film Program. Lee Entertainment and was released has combined his extensive cre- on DVD by Lions Gate Films. ative experience into yet another Miller is also an acclaimed venture: partnering with DDB director of TV commercials and Needham, he created Spike/DDB, music videos and, most recently, a full-service advertising agency. he directed short fi lms for the ® and for the Democratic National Convention. Wadjda Saturday, April 26, 11 a.m.

Do the Right Thing HAIFAA AL-MANSOUR (director) Friday, April 25, 8:30 p.m. is the fi rst female fi lmmaker of Saudi Arabia and is regarded SPIKE LEE (director) is a as one of its most signifi cant writer-director, actor, producer, cinematic fi gures. She fi nished her author and educator who has BA in Literature at the American helped revolutionize modern University in Cairo and completed black cinema. Lee is a forerunner her MFA in Directing and Film in the ‘Do It Yourself’ school Studies from the University of of independent fi lm. Lee is Sydney. currently in post production The success of her three short on the Kickstarter-funded Da fi lms, as well as the international Blood of Sweet Jesus. Prior to acclaim of her award-winning this, he released Oldboy, his 2005 documentary Women Without reinterpretation of the Korean Shadows, infl uenced a whole psychological thriller, and new wave of Saudi fi lmmakers Mike Tyson: Undisputed Truth, and made the issue of opening a videotaping of Mike Tyson’s cinemas in the Kingdom a front- Broadway show. page discussion. Within the An avid Knicks fan, Spike began Kingdom, her work is both praised hosting a one-hour bi-weekly and vilifi ed for encouraging sports talk, Spike Lee’s Best Seat discussion on topics generally In Da House show featuring considered taboo, like tolerance, discussions on various news and the dangers of orthodoxy, and the topics concerning basketball and need for Saudis to take a critical Saturday, May 3 | 2:00 & 7:30 p.m. the NBA in January 2014. Lee look at their traditional and received a Peabody Award for restrictive culture. Sunday, May 4 | 2:00 p.m. the Documentary If God is Willing Through her fi lms and her and Da Creek Don’t Rise, which work in TV and print, Al-Mansour revisits the storm-ravaged Gulf is famous for penetrating the Coast region as residents attempt wall of silence surrounding the to rebuild in their cities, while sequestered lives of Saudi women also demanding assistance and and providing a platform for their accountability from their political unheard voices. leaders. Recent critical and box offi ce successes include such fi l m s a s Inside Man, 25th Hour, 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 29 Roger lives on. We know you are here with us in spirit. – Betsy from Hendrick House

30 16th Annual Roger Ebert’s Film Festival A Simple Life Born on the Saturday, April 26, 2 p.m. Fourth of July Saturday, April 26, 9:00pm ANN HUI (director)XBTCPSO JO$IJOBJOBOENPWFEUP "DBEFNZ"XBSE¥XJOOJOHOLIVER )POH,POHXIFOTIFXBTTUJMMJO STONE (director)IBTXSJUUFOBOE IFSZPVUI"GUFSHSBEVBUJOHJO EJSFDUFEPWFSGVMMMFOHUIGFBUVSF &OHMJTIBOE$PNQBSBUJWF-JUFSBUVSF mMNT BNPOHUIFNTPNFPGUIF GSPN)POH,POH6OJWFSTJUZ TIF NPTUJOnVFOUJBMBOEJDPOJDmMNTPG TQFOUUXPZFBSTBUUIF-POEPO UIFMBTUEFDBEFT4PNFIBWFCFFO 'JMN4DIPPM3FUVSOJOHUP)POH BUEFFQPEETXJUIDPOWFOUJPOBM ,POH TIFXPSLFEBTBOBTTJTUBOU NZUIomMNTTVDIBTPlatoon UPEJSFDUPS,JOH)VCFGPSFKPJOJOH  UIFmSTUPGUISFF7JFUOBN 57#UPEJSFDUESBNBUJDTFSJFTBOE mMNTJFK  Natural Born TIPSUEPDVNFOUBSJFT*OTIF Killers  Nixon  BOE QSPEVDFEBOEEJSFDUFETJYmMNTGPS World Trade Center   UIF*$"$ BOEJOTIFNBEF 4UPOFTmMNTIBWFPGUFOSFBDIFE UISFFFQJTPEFTGPSUIF35),TFSJFT XJEF JOUFSOBUJPOBMBVEJFODFT Below the Lion Rock GPMMPXFE BOEIBWFIBETJHOJmDBOUDVMUVSBM CZIFSEFCVUGFBUVSFmMN The JNQBDU5IFTFJODMVEFSalvador Secret  ù4JODFUIFO TIFIBT  EFFQMZDSJUJDBMPGUIF EJSFDUFEGFBUVSFmMNTJODMVEJOH 64(PWFSONFOUTJOWPMWFNFOU Boat People  Summer Snow JO$FOUSBM"NFSJDBWall Street  Song of the Exile    BDSJUJRVFPG"NFSJDBT BOEThe Way We Are   OFXDBQJUBMJTNBorn on the Fourth of July  DSJUJDJ[JOH 64JOWPMWFNFOUJO7JFUOBN GPS Goodbye Solo XIJDI4UPOFXPOBUIJSE"DBEFNZ Saturday, April 26, 5 p.m. "XBSE¥ BOEThe Doors   BCPVUUIFTBOEJUTNVTJD RAMIN BAHRANI (director)IBT )JTPUIFSmMNTJODMVEFAny Given XPOOVNFSPVTBXBSETGPSIJT Sunday  BOVODPOWFOUJPOBM mMNT JODMVEJOHUIF'*13&4$*1SJ[F WJFXPGUIFXPSMEPG"NFSJDBO GPSCFTUmMNGPSMan Push Cart TQPSUTBOFQJDIJTUPSJDBMESBNB -POEPO BOEGoodbye Solo Alexander  'JOBM$VU7FSTJPO 7FOJDF UIFi4PNFPOFUP  W.  BTBUJSJDBMWJFX MAX MITCHELL 8BUDIw*OEFQFOEFOU4QJSJU"XBSE PG(FPSHF8#VTIBOEWall Street: GPSChop Shop (2007)BOEIFXBT Money Never Sleeps  B Providing Service You Can Count On! UIFSFDJQJFOUPGB(VHHFOIFJN TFRVFMUPUIFPSJHJOBM XIJDIEFBMT 'FMMPXTIJQ)FDPMMBCPSBUFEXJUI XJUIUIFmOBODJBMDSBTI 8FSOFS)FS[PHPOIJTTIPSUmMN *OBTFSJFTPGDSJNFSFMBUFE Plastic BagBOEEJSFDUFEBNVTJD mMNT 4UPOFIBT JOBEEJUJPOUP WJEFPGPS4JHVS3ØTBTXFMMBT Natural Born Killers EJSFDUFEU TFWFSBMDPNNFSDJBMT)JTMBTUmMN Turn  BOESavages   %FOOJT2VBJE ;BD OPOFPGUIFNDPOWFOUJPOBMJOUIFJS &GSPO XBTOPNJOBUFEGPSUIF BQQSPBDIUPUIFJSTVCKFDU (PMEFO-JPOBU5IF7FOJDF'JMN )JTXSJUUFOTDSFFOQMBZT UIPVHI 'FTUJWBM  BOEXBTSFMFBTFE OPUEJSFDUFE HBWFIJNBOFBSMZ CZ4POZ1JDUVSFT$MBTTJDT)FJT UBTUFPGUIFDPOUSPWFSTJBMOBUVSF DVSSFOUMZJOQPTUQSPEVDUJPOPO PGIJTJEFBT"OVQSPBSHSFFUFE IJTOFXmMN "OESFX Midnight Express  XIJDI (BSmFME .JDIBFM4IBOOPO -BVSB POMZHSFXXJUIScarface   %FSO BOEJTmOJTIJOHIJTmSTU )FBMTPXSPUFYear of the Dragon EPDVNFOUBSZ  BOEConan the Barbarian #BISBOJJTBQSPGFTTPSPGmMN  )FIBTQSPEVDFEPSDP EJSFDUJOHBU$PMVNCJB6OJWFSTJUZT QSPEVDFEBEP[FOmMNTJODMVEJOH HSBEVBUFmMNQSPHSBNJO/:$ The People vs. Larry Flynt   Joy Luck Club  BOEReversal of Fortune   )JTEPDVNFOUBSJFTJODMVEF UISFFPO'JEFM$BTUSP Comandante MAX MITCHELL  Looking for Fidel   BOECastro in Winter  BOE Re/Max Realty Associates POFPO4PVUI"NFSJDB South of [email protected] | 217-373-4804

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 23-27, 2014t5IF7JSHJOJB5IFBUSF 31 the Border (2009), prominently Awards, considered to be the featuring Hugo Chavez and six highest award for electronic other Presidents in a continent media. He is also festival director undergoing huge social changes. of Roger Ebert’s Film Festival, He also made Persona Non Grata hosted by Chaz Ebert. Dr. Kohn’s (2003) on Israel-Palestine credits as a producer include the relations. Academy Award®-nominated Zulu His latest work The Untold Dawn starring Burt Lancaster and History of the United States Peter O’Toole; the independent (Showtime, 2012), five years in feature Somebodies, which the making, is a monumental premiered in competition at 10-hour interrogation of the Sundance 2006; Rain, Bahamas’ conventional triumphalist first indigenous feature which narrative of US history. premiered at Toronto 2008 Stone was born September and on Showtime (2010); the 15, 1946 in New York City. He feature film Bottleworld (2010); wrote a novel at 19 — A Child and the BET television Night’s Dream — about his youth, series Somebodies (2008). He is which was published in 1997 by author of Pursuing Hollywood: CONTEMPORARY FILM DIRECTORS St. Martin’s Press. He served in Seduction, Obsession, Dread the US Army Infantry in Vietnam (Alta Mira Press, 2006), and he in 1967-68 and was decorated is most recently producer on the Other directors in the series include: Philip Kaufman, with the Bronze Star for Valor. feature-length documentary Bayou Jim Jarmusch, Richard Linklater, Jerry Lewis, David Lynch, After returning from Vietnam, Maharajah: The Tragic Genius of Lars von Trier, Michael Haneke, and Wong Kar-wai. he completed his undergraduate James Booker, which premiered at studies at NYU Film School in SXSW® 2013. 1971, where he made several U N I V E R S I T Y O F short films. He has also worked TIM WATSON (editor) is a as a , merchant sailor, documentary editor, writer, and ILLINOIS PRESS messenger, advertising salesman, producer in New Orleans. His www.press.uillinois.edu and production assistant on porno work has been seen on PBS, films and others. the Sundance Channel, HBO and other networks in the US and Europe, and at many film festivals around the world. He Bayou Maharajah edited and co-produced Campo Sunday, April 27, noon to B.C. (2014); co-edited and co- wrote Bayou Maharajah (2013); LILY KEBER (producer/director) co-produced and co-edited The is a filmmaker and educator Music’s Gonna Get You Through based in New Orleans. A graduate (2010); was supervising producer of the University of Georgia, and co-editor for Bury The Hatchet Keber learned filmmaking at the (2010); co-edited Walker Percy: International Film & Television A Documentary Film (2010); Workshops in Rockport ME. edited the series Taste Of Place During the summer of 2007, she (2010-11); did story development co-directed Hutto: America’s for and edited Vows of Silence Family Prison, a short film on (2008); edited Member Of The Club Bullock and Associates the Department of Homeland (2008); co-produced and edited Security’s policy of family By Invitation Only (2006); edited Educational Consulting detention. Keber is a co-founder a documentary segment for HBO of New Orleans Video Voices, Comic Relief (2006); co-produced a women-led media collective and edited A Player To Be Named dedicated to expanding media Later (2005); co-produced and literacy across the Gulf Coast. Her co-edited Desire (2005); edited work has appeared on Democracy and co-wrote Shalom Y’All (2002); Now!, GritTV with Laura Flanders, and edited Ruthie The Duck Girl Current TV, Electronic Intifada and (1999). Through his New Orleans- local PBS programming. Bayou based company, Ariel Montage, Maharajah is her first feature- Watson has edited and facilitated length film. many other documentary, narrative, and experimental NATE KOHN (producer) is a projects over the past 18 years. professor at the University of Georgia and Associate Director www.schoolplacementsolutions.com of the George Foster Peabody

32 16th Annual Roger Ebert’s Film Festival HENRY BUTLER (musician), 5SFNÏ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anelists & #VUMFSIBTCFFOQMBZJOHUIFQJBOP Special Guests TJODFIFXBT BOEBSSBOHJOH  DPNQPTJOHBOEQFSGPSNJOH BARRY ALLEN TUBSUFEIJTDBSFFS QSPGFTTJPOBMMZTJODFIFXBT JOUIFMBUFTBTBmMNFEJUPS #VUMFSTTPVOEIBTCFFO BU8*4)57JO*OEJBOBQPMJTJOUIF JOnVFODFECZUIFTUSFFUT IF FSBXIFOBMMMPDBMNPWJFTDBNF HSFXVQJOUIF$BMMJPQF1SPKFDUT JOPONNmMNBOEIBEUPCF JO/FX0SMFBOT IBTUSBWFMFEUIF FEJUFEGPSMFOHUIBOEDPNNFSDJBM XPSME MJWFEPOCPUIDPBTUTBOE CSFBLT4FWFSBMQSFGFBUVSF JOUIFIFBSUMBOE CZTUVEZJOH MJCSBSJFTGSPNUIFTBOE XJUIUIFHSFBUT "MWJO#BUJTUF  TGPSNFEUIFCBDLCPOFPGUIF 4JS3PMBOE)BOOB 1SPGFTTPS TUBUJPOTMJCSBSZ#VJMEJOHUIFN -POHIBJSBOE+BNFT#PPLFS  GPSPOBJSQSFTFOUBUJPOXBTBO BNPOHPUIFST CZJOTUJUVUJPOT FEVDBUJPOJOmMNIJTUPSZUIFZIBE -PVJTJBOB4DIPPMGPSUIF#MJOE  UPTDSFFOIVOESFETPGmMNTBZFBS 4PVUIFSO6OJWFSTJUZ #BUPO3PVHF .PWJOHGSPNXPSLJOMPDBM BOE.JDIJHBO4UBUF6OJWFSTJUZ  UFMFWJTJPO IFCFHBOCPPLJOHBOE BOECZIJTXJMMJOHOFTTUPFYQMPSF QSPHSBNNJOHmMNTGPSSFQFSUPSZ OFXCPVOEBSJFTBOEUBLFSJTLT BOETFDPOESVOGPSBTNBMMHSPVQ #VUMFSIBTQMBZFEBMNPTUFWFSZ PGJOEFQFOEFOUMZPXOFEUIFBUSFT NBKPSDMVCBOEGFTUJWBMJOUIF64  JO*OEJBOBQPMJT*O IFXBT BTXFMMBTWFOVFTJO#SB[JM 'SBODF  IJSFECZ1BSBNPVOU5FMFWJTJPOUP /PSXBZ *UBMZ +BQBO "VTUSBMJB CF.BOBHFSPG%PNFTUJD5FMFWJTJPO BOENPSF'PSPWFSZFBST IF %JTUSJCVUJPO IBTDPOEVDUFEXPSLTIPQTBOE *O IFCFDBNFFYFDVUJWF NBTUFSDMBTTFTUISPVHIUIF64 EJSFDUPSPG'JMN1SFTFSWBUJPO  )FIBTBMTPEFWFMPQFEBDBNQGPS SFTQPOTJCMFGPSFWBMVBUJOHmMN CMJOEBOEWJTVBMMZJNQBJSFEUFFO BTTFUTGPSQSFTFSWBUJPOBOE NVTJDJBOT UIFTVCKFDUPGUIF TVQFSWJTJOHUIFNBOVGBDUVSFPG EPDVNFOUBSZThe Music’s Gonna mMNFMFNFOUTUPCFNBTUFSFEGPS Get You Through. CSPBEDBTUBOE%7%)FSFUJSFE #VUMFSTQIPUPHSBQIT FYQMPSJOH GSPN1BSBNPVOU1JDUVSFTJO UIFTJHIUFEXPSMETSFMBUJPOTIJQ BOEJTOPXBDPOTVMUJOHmMN XJUIUIFnBUSFQSFTFOUBUJPO QSFTFSWBUJPOJTU JNBHFBOEJUTQPXFS DPOUJOVF UPCFFYIJCJUFEOBUJPOBMMZBOE DAN ARONSON, $50PG'BOEPS  JOUFSOBUJPOBMMZBOEUPBQQFBS IBTCFFOBUUIFGPSFGSPOUPG JONBKPSOFXTQBQFSTBDSPTTUIF UFDIOPMPHZTJODFUIFT XIFO 64)FBOEIJTQIPUPHSBQIJD IFCFHBOCVJMEJOHTVQFSDPNQVUFST XPSLXFSFGFBUVSFEJOUIF)#0 BU5IJOLJOH.BDIJOFT$PSQPSBUJPO EPDVNFOUBSZDark Light: the Art of Blind Photographers. 1SJPSUPGPVOEJOH'BOEPS IF 5IFNPTUSFDFOUPG#VUMFST XBTBOFBSMZFNQMPZFFBU8"*4  custom software development UIFmSTUJOUFSOFUTFBSDIFOHJOF NBOZ$%TJT1JB/0-"-JWF XJUI in meteor, node.js & mongodb XPSLTQVMMFEGSPNIJTSJDIBSDIJWFT DPNQBOZ BOEXFOUPOUPIFMQ oBCPVUIJTPOMZQPTTFTTJPOTUIBU NBOBHF"0-TTFSWFSTGPMMPXJOH for web, mobile, embedded & cloud TVSWJWFE)VSSJDBO,BUSJOB XIJDI JUTBDRVJTJUJPOPG8"*4"SPOTPO EFDJNBUFEIJTIPNFBOEUPPLIJT DPGPVOEFEBOUJTQBNDPNQBOZ QJBOP #SBJMMFTDPSFTBOEBMMIJT #SJHIUNBJMBOEJOUFSOFUJODVCBUPS 2wav.com SFDPSEJOHFRVJQNFOU#VUMFSDBO $BNQTJY)FIBTTFSWFEPOUIF [email protected] BMTPCFIFBSEPOSFDPSEJOHTCZ CPBSETPG$JUZ$BS4IBSFBOE +1 415-890-2WAV PUIFSNVTJDJBOTJODMVEJOH$ZOEJ OFUXPSLFENVTJDQMBZFSDPNQBOZ @2wav -BVQFS +FGG(PMVCBOE0EFUUB  4MJN%FWJDFT BOEPOUIFTPVOEUSBDLPG)#0T 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 33 MICHAEL BARKER, as Co- Slacker, Welcome To The Dollhouse, President and Co-Founder of Frozen River); cutting edge films Sony Pictures Classics (with Tom (, Moon, Orlando, Bernard), which celebrated its , The Raid); animated Thank you chaz! 20th anniversary in 2012, has features (The Triplets Of Bellville, distributed (and quite often Persepolis, Waltz With Bashir); produced), some of the finest feature documentaries (Dogtown independent movies over the past And The Z Boys, Crumb, Winged 30 years. Previously he was an Migration, It Might Get Loud, The executive at United Artists (1980- Gateeepers, Tim’s Vermeer, The 1983) and went on to co-found Armstrong Lie) and foreign films Orion Classics (1983-1991) and (Ran, A Prophet, White Ribbon, Sony Pictures Classics. Talk To Her, Central Station, Wings Over the span of his career, Of Desire). Barker’s films have received 140 He and his colleagues have also Academy Award® nominations restored and theatrically reissued including several for Best Picture some of the great films of the Amour; Midnight in Paris, Woody past, including The Passenger, Allen’s most successful film of all The Garden Of The Finzi Continis, time; An Education; Capote, for Murmur Of The Heart, and the which Philip Seymour Hoffman classic films of Indian master won the Academy Award® for Best Satyajit Ray. Actor; Crouching Tiger, Hidden In theaters now, The Lunchbox Celebrating Dragon, recognized as the highest (Ritesh Batra), Jodorowsky’s Dune grossing foreign film of all time (Frank Pavich) and The Raid 2 16 wonderful years... in North America; and Howards (), Only Lovers Left End. His company’s Academy Alive (Jim Jarmusch) and For No with more memories to come. Award® nominations resulted Good Reason (Charlie Paul). in 32 wins (most recently Cate Upcoming releases include Blanchett for Best Actress for Magic In The Moonlight (Woody Ann Beddini AND Barbara Hulseberg Blue Jasmine), including five Allen), Third Person (Paul Haggis), for Best Documentary Feature, Land Ho! (Martha Stephens & most recently for Searching For Aaron Katz), Love Is Strange Sugarman, Inside Job and Fog (Ira Sachs), Whiplash (Damien Of War, and 12 for Best Foreign Chazelle), Foxcatcher (Bennett Language Film, which include Miller), Mr. Turner (Mike Leigh) Babette’s Feast, All About My and Lambert And Stamp (James D. Mother, The Lives Of Others, A Cooper). Separation and Amour. Other notable award wins include 35 DAVID BORDWELL is retired Independent Spirit Awards and 19 from teaching at the University Golden Globe® Awards. of Wisconsin-Madison. He has Barker has collaborated written several books on film with some of the world’s finest aesthetics and history, most filmmakers, including Woody recently Poetics of Cinema Allen, Pedro Almodovar, Louis (2007), Planet Hong Kong: Malle, and Zhang Yimou, all Popular Cinema and the Art of WE of whom he’s worked with on Entertainment (2nd edition, multiple occasions, as well as 2011), and Pandora’s Digital Box: Robert Altman, Michelangelo Films, Files, and the Future of Antonioni, Suzanne Bier, Ingmar Movies (2012). He and Kristin DISARM Bergman, Francis Coppola, David Thompson, who collaborated on Cronenberg, Guillermo del Toro, Film Art: An Introduction (10th the Dardenne brothers, Jonathan edition, 2012), write about film BOMBS Demme, R W Fassbinder, Michael regularly at davidbordwell.net/ Haneke, Nicole Holofcener, Akira blog. Some of their online essays Don’t let unprofessional talent blow up your Kurosawa, Norman Jewison, Ang have been collected in Minding carefully planned production. At SAGindie Lee, Richard Linklater, David Movies: Observations about we can help guide you through the signatory Mamet, Errol Morris, Roman the Art, Craft, and Business of process, so you can fi nd the professional actors Polanski, Sally Potter, Francois Filmmaking (University of Chicago you need to avoid the amateur mine fi eld. Truffaut and Wim Wenders. Press, 2011). Over the years, Barker has released features from American C.O. “DOC” ERICKSON, an masters (Only Lovers Left Alive, executive producer, has over fifty sagindie.org Rachel Getting Married, Sweet years experience as a producer And Lowdown) and new American and production manager on many filmmakers (Take Shelter, Pollock, of Hollywood’s biggest films. He

34 16th 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 35

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Remember to buy New Zealand Wines VISUAL ARTS Art + Design, Japan House, Krannert Art Museum Use Piccadilly in Champaign PERFORMING ARTS Dance, Krannert Center for the Performing Arts, Music, Theatre ENVIRONMENTAL ARTS Architecture, Landscape Architecture, Urban + Regional Planning

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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 23-27, 2014t5IF7JSHJOJB5IFBUSF 37 Watches.” He has written several NELL MINOW began reviewing reviews and essays published in movies for her high school and two World Film Locations books in college newspapers and has the UK. been writing reviews online as His revolution-related the Movie Mom since 1995. Her tweets were published in the website Movie Mom includes bestseller, Tweets from Tahrir. Wael reviews of theatrical and DVD/Blu- was also one of Roger’s FFCs and Ray releases as well as features, is a multi-award winning senior interviews, and contests, and copywriter working for the Cairo she appears each week on radio branch of multinational ad agency stations across the country and BBDO. Besides his website The in Canada to talk about new Cinephile Fix and the Chicago releases. Her writing about movies Sun-Times blog, Wael also wrote and popular culture has appeared regularly for The Spectator’s arts in many outlets, including blog, and several other RogerEbert.com, USA Today, the publications around the world. , the Chicago Sun- Times, the Kansas City Star, and KEVIN B. LEE is a film critic, the Motion Picture Association’s filmmaker, and producer of over thecredits.org. Her books include 200 video essays on film and The Movie Mom’s Guide to Family TV. In 2013 New City magazine Movies, 101 Must-See Movie included him (along with Chaz Moments, and the 50 Must-See Ebert) in Chicago’s Top 50 Film Movies series. People. He is founding editor and chief video essayist at Fandor MICHAEL PHILLIPS is the Chicago Keyframe and founding partner Tribune film critic. He cohosted of dGenerate Films. Kevin 100 or so episodes of the long- has contributed to Ebert running nationally syndicated At Presents, RogerEbert.com, The New the Movies, first opposite Richard York Times, Sight & Sound, and Roeper, then A.O. Scott. He Indiewire. He tweets at reviewed Taxi Driver for his high @alsolikelife. school paper, The Shield. He went on to write about movies for the MICHAEL MIRASOL is a Filipino Twin Cities weekly City Pages. He independent film critic and served as theater critic of the blogger who has been writing Los Angeles Times, the San Diego about film for the past 14 years. Union-Tribune, the Dallas Times- He briefly served as film critic Herald and the St. Paul Pioneer ROGER AND CHAZ for the Manila Times and now Press. He came to the Tribune as contributes occasionally to several its drama critic in 2002 before online publications such as being named film critic in 2006. He has hosted programming for the ACMI blog, Fandor, IndieWire’s . He lives PressPlay, The Spectator Arts in Logan Square with his wife, THANK YOU for blog, and Uno. In 2010, he was Tribune columnist Heidi Stevens, named as one of Roger’s FFCs. and their three children. He’s also 16 WONDERFUL YEARS He has also contributed to World happy and honored to be back at Film Locations New York, a film Ebertfest. photography book by Scott Jordan of GREAT FILMS! Harris. Michael’s blog is The Flip ERIC PIERSON is an associate Critic. professor and former chair of the Communication Studies OMER MOZAFFAR, a scholar of Department at the University MARSHA CLINARD religion, received an “Excellence in of San Diego. His work on and CHARLIE BOAST Teaching Award in the Humanities, black images and audiences has Arts, and Sciences” in 2011 appeared the Encyclopedia of from the University of Chicago’s African American Business History, Graham School. He also teaches at Screening Noir, the Encyclopedia of Loyola, DePaul and other Chicago the Great Black Migration, Journal area institutions, academic and of Mass Media Ethics and Watching confessional. In 2009, Roger While Black: Centering the named him as one of his Far Flung Television of Black Audiences. His Correspondents. Omer misses most recent work, “The Clinton 12” Roger tremendously. and “Prom Night in Mississippi: Conversations in Integration,” appears in the forthcoming

38 16th Annual Roger Ebert’s Film Festival book, Documenting the Black mOE FNQMPZJOHWFSZSPVHITUPQ Experience&SJDDBOBMTPCFTFFO NPUJPOBOJNBUJPOUFDIOJRVFT JOUIFEPDVNFOUBSZùInfi ltrating 5PEBZ IFTUVEJFTBU4SJTIUJ4DIPPM Hollywood: The Rise and Fall of the PG"SU %FTJHOBOE5FDIOPMPHZJO Spook Who Sat By The Door. #BOHBMPSF BOETUJMMDSFBUFTTIPSU &SJDIPMETUXPEFHSFFTGSPNUIF mMNT BOJNBUJPOT QBJOUJOHTBOE 6OJWFSTJUZPG*MMJOPJTBU6SCBOB EJHJUBMBSU BMMPGXIJDIZPVDBO $IBNQBJHO B#'"JO'JOF"SUT TFFPOIJTùXFCTJUF ,SJTIOB#BMB BOEB1I%GSPNUIF*OTUJUVUFGPS 4IFOPJ)FJTFYUSFNFMZQSPVE  $PNNVOJDBUJPOT3FTFBSDI BOETMJHIUMZJOUJNJEBUFE UPCF 3PHFSTZPVOHFTU''$BOEXJMMCF STEVE PROKOPYJTUIF$IJDBHP DPNJOHUP*MMJOPJTGSPN#BOHBMPSF FEJUPSGPSAin’t It Cool News, BMPOHXJUIIJTNPUIFSGPSIJTUIJSE XIFSFIFIBTDPOUSJCVUFEmMN &CFSUGFTU SFWJFXTBOEJOUFSWJFXTVOEFSUIF KRISTIN THOMPSONJTBO BMJBTA$BQPOFTJODF)FJT )POPSBSZ'FMMPXJOUIF%FQBSUNFOU BMTPBGSFRVFOUHVFTUPO$IJDBHP PG$PNNVOJDBUJPO"SUTBU 1VCMJD3BEJPTFilmspotting NPWJF UIF6OJWFSTJUZPG8JTDPOTJO SFWJFXTIPX4UFWFSFDFJWFEB#" .BEJTPOù)FSFMFWFOUICPPL  JOKPVSOBMJTNGSPN/PSUIXFTUFSO The Frodo Franchise: The Lord of 6OJWFSTJUZJO the Rings and Modern Hollywood GPSXIJDITIFJOUFSWJFXFE MATT ZOLLER SEITZ JTUIFFEJUPS 3PHFSPOUIFTVCKFDUPGQSFTT JODIJFGPG3PHFS&CFSUDPN UIF KVOLFUT XBTQVCMJTIFEJO 57DSJUJDGPSNew York Magazine CZUIF6OJWFSTJUZPG$BMJGPSOJB BOE7VMUVSFDPNBOEBmOBMJTU 1SFTTù)FSQSFWJPVTCPPLTJODMVEF GPSUIF1VMJU[FS1SJ[FJODSJUJDJTN Storytelling in the New Hollywood )FJTUIFGPVOEFSBOEPSJHJOBM )BSWBSE  BOEHerr Lubitsch FEJUPSPGUIFJOnVFOUJBMCMPH5IF Goes to Hollywood "NTUFSEBN  )PVTF/FYU%PPS OPXBQBSUPG  8JUI%BWJE#PSEXFMM TIF Slant Magazine BOEUIFGPVOEFS NBJOUBJOTUIFCMPH0CTFSWBUJPOT BOEQVCMJTIFSPGPress Play..BUU PO'JMN"SU. IBTXSJUUFO OBSSBUFE FEJUFEPS QSPEVDFEPWFSIPVSTXPSUIPG SUSAN WLOSZCZYNATQFOUNVDI WJEFPFTTBZTBCPVUDJOFNBIJTUPSZ PGIFSOFBSMZZFBSTBUUSA BOETUZMFGPS5IF.VTFVNPGUIF TodayBTBTFOJPSFOUFSUBJONFOU .PWJOH*NBHF 5IF-.BHB[JOF  SFQPSUFSEPJOHIFSESFBNKPC 7VMUVSFBOE1SFTT1MBZ BNPOH WJTJUJOHUIF/FX;FBMBOEmMN PUIFSPVUMFUT)JTQBSU TFUPGThe Lord of the Rings, WJEFPFTTBZWes Anderson: The CFJOHB[PNCJFFYUSBJO(FPSHF Substance of StyleXBTMBUFSTQVO 3PNFSPTLand of the DeadBOE PGGJOUPUIFIBSEDPWFSCPPLThe JOUFSWJFXJOHDPVOUMFTTTIPXCJ[ Wes Anderson Collection B/FX mHVSFTJODMVEJOHJDPOT 7JODFOU burgers, salads, & more :PSL5JNFTCFTUTFMMFS.BUUJTUIF 1SJDF 4IJSMFZ5FNQMF 1FUFS 2 east main, champaign EJSFDUPSPGUIFSPNBOUJDDPNFEZ 05PPMF .S3PHFST "MJTUTUBST Home TFWFSBMTIPSUmMNT BOEB (FPSHF$MPPOFZ +VMJB3PCFSUT  sliders, salads, soups, & entrées GPSUIDPNJOHTDJFODFmDUJPOFQJD .FSZM4USFFQ 5PN)BOLT 8JMM UIBUXJMMCFTIPUJOIJTBQBSUNFOU 4NJUI 4BOESB#VMMPDL %FO[FM )FMJWFTJO#SPPLMZOXJUIIJTUXP 8BTIJOHUPO BOECJHOBNF DIJMESFO mMNNBLFST 4UFWFO4QJFMCFSH  (FPSHF-VDBT .BSUJO4DPSTFTF  KRISHNA BALA SHENOIùJTBO +BOF$BNQJPO /BODZ.FZFST  ZFBSPME*OEJBOCPZXIPIBT 4QJLF-FF 8FT"OEFSTPOBOE tex-mex food & drinks CFFOPCTFTTFEXJUINPWJFTGPS "MFYBOEFS1BZOF  6 taylor street on the corner of chester & market BTMPOHBTIFDBOSFNFNCFS)FT )FSQPTJUJPOTBUUIFOFXTQBQFS downtown champaign downtown champaign BMPWFSPG4UFWFO4QJFMCFSH 3BZ JODMVEFECFJOHBmMNSFWJFXFSGPS )BSSZIBVTFO NPWJFTPVOEUSBDLT  ZFBSTBTXFMMBTUIF-JGFTFDUJPO TVQFSIFSPmMNT UIF&FMT BOEIJT DPQZEFTLDIJFG/PXVODIBJOFE NPUIFSTGPPE GSPNUIFHSJOEPGEBJMZKPVSOBMJTN  )JTQBTTJPOGPSmMNWJFXJOH TIFJTSFBEZUPWJFXUIFXPSMEPG BOEmMNNBLJOHCFHBOFBSMZPO NPWJFTXJUIGSFTIFZFTù 8IFOIFXBTPS IFVTFEUP NBLFIPNFNPWJFTXJUIBOPME 4POZDBNDPSEFS CVJMEJOHCMPDLT  Go to www.ebertfest.com to DMBZNPEFMT PSXIBUFWFSIFDPVME read our Official Festival Blog

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 39

Illinois Department of Commerce & Economic Opportunity

40 16th 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 41 FILM SCREENING SPONSORED BY: STEAK ‘N SHAKE

By Scott Foundas, Variety

life spent at the was admitted to a Chicago movies gets the rehab hospital for a hairline cinematic epitaph it hip fracture. It was Ebert’s richly deserves in “Life Itself,” seventh stay at the facility documentarian Steve James’ since the 2006 cancer surgery meticulous and intensely that left him without much of emotional portrait of the late his jaw and unable to speak Roger Ebert. Given unfettered or eat. And yet, in spite of access to Ebert during what his latest medical setbacks, turned out to be the last four Ebert remains eager for James months of the venerated critic’s to film — joking jubilantly life, James cuts — as in all of with his nurses one moment, his best work — straight to undergoing the clearly painful the human heart of the matter, process of having his throat celebrating both the writer and drained by suction the next, the man, the one inseparable and later struggling to walk from the other, largely in during a grueling physical Ebert’s own words. One can therapy session. Through it all, only hope that this CNN Films Ebert’s computer is never far presentation, a natural for from hand, as he continues to wide fest play, will also end up write reviews and blog entries, on the bigscreen, where Ebert and makes conversation himself surely would have through a computerized voice wanted it. box. James, whose own From there, James delves association with Ebert dates into Ebert’s biography, not A young Roger Ebert and pose for a portrait. back to 1994 (when the so much chronologically as critic waged an impassioned impressionistically, guided by longer, in-person sitdown that where the impassioned young campaign on behalf of the the critic’s email responses to never transpired). Also quoted Ebert wrote fiery editorials director’s debut feature, “Hoop questions James sends him at length are passages from in support of the civil rights Dreams”), began filming in during his rehab (a kind of pre- Ebert’s 2011 memoir, also titled movement and even once December 2012, just as Ebert interview for an anticipated “Life Itself,” which are read on stopped the presses to prevent the soundtrack by voice actor a tasteless advertisement from Stephen Stanton. Enriched by appearing opposite the news of marvelous archival photographs JFK’s assassination. Unsurprisingly, much of “Life Itself” is and reminisces from friends, As the film moves into colleagues and drinking Ebert’s professional career given over to Ebert’s democratizing and buddies, James’ film traces at the Chicago Sun-Times, popularizing impact on the world Ebert’s prodigal journey from a where he became the youngest newspaper-obsessed childhood daily newspaper critic in the of film criticism ... to the editorship of his country, James vividly evokes college paper, The Daily Illini, a bygone era of rolled-sleeve

42 16th Annual Roger Ebert’s Film Festival

Windy City newsmen and the storied watering holes where they caroused until dawn. Among the docu’s most candid (2014) Not Rated sections is the one devoted to Ebert’s battle with alcoholism, which he admits would have 8SJUUFOBOEEJSFDUFEby ended both his life and career Steve James had he not joined AA in 1979. (It was at an AA meeting, it is Cast: Roger Ebert as IJNTFMG revealed here for the first time, Martin Scorsese as IJNTFMG that Ebert met his future wife, Werner Herzog as IJNTFMG Chaz.) Errol Morris as IJNTFMG Unsurprisingly, much of “Life Itself” is given over to Running time: 115 minutes Ebert’s democratizing and Roger Ebert and Gene Siskel look on at a film screening. popularizing impact on the 1SJOUDPVSUFTZ world of film criticism, with Marlene Iglitzen, recall how Kartemquin Films judiciously chosen clips the rival newspapermen barely (“Bonnie and Clyde,” “Cries spoke to each other in private and Whispers,” “Raging Bull”) during the early years of the and excerpts from those same program, only to eventually films’ respective reviews used grow very close (a friendship to show how Ebert combined cut short by Siskel’s own his encyclopedic knowledge cancer-related death in 1999). of cinema with an accessible, James also takes time plainspoken writing style to show that not everyone that could be understood by was so enamored of the anybody. Filmmakers including TV program and its iconic old self), reflecting not just Errol Morris, Werner Herzog thumbs-up, thumbs-down on cinema, but on politics, and Martin Scorsese (also an judgments, with some critics religion and other issues of executive producer here) speak (including Film Comment’s the day. But the title “Life to the specific contributions Richard Corliss, who published Itself” is fitting in another Steve James directed “Life Itself,” a Ebert made to their careers, a lengthy attack piece later biographical film on Roger Ebert. regard, too; it evokes one of Scorsese tearing up as he rebutted by Ebert) bemoaning Ebert’s favorite films, Akira remembers a tribute Ebert and what they saw as its crass her effusive love for her Kurosawa’s “Ikiru,” whose his TV sparring partner Gene consumerization of film husband, and her palpable title is Japanese for “to live.” Siskel organized for him in reviewing. But compared to fear of losing him permeate That film tells the story Toronto at one of the lowest what passes for informed the film, especially when of a cancer-stricken Tokyo moments of his personal and debate — of movies or Roger is diagnosed with newly bureaucrat determined to professional life. anything else — on TV today, discovered spinal tumors and build a children’s playground Of course, it was TV that the “Siskel & Ebert” clips resolves that, this time, he no as a valedictory gesture before made Ebert a cherished included here seem almost a longer has the will to fight. he dies, and James includes cultural institution, and “Life model of erudite discourse. “This is the third act, and it is an unidentified clip from it Itself” delights in taking The heart of “Life Itself” — an experience,” he tells James here in a montage near the us behind the scenes of the and of Ebert’s life, itself — is bravely, even as we can plainly end of “Life Itself.” It is easy long-running series that the love story between Roger see that Chaz is not nearly so to think of “Ikiru,” too, when began on public television as and Chaz, whom he married ready to let go. James shows us Ebert in his “Opening Soon at a Theater at age 50 after having more Cliché as it may be to say, final days, working tirelessly Near You” (with, as clips here or less resolved that he would there’s no denying that Ebert’s on a revamped version of his attest, neither host quite spend the rest of his life encroaching mortality made RogerEbert.com website, a yet ready for primetime) and alone, and who would prove him appreciate life all the film buff’s playground where evolved into the syndicated to be his tower of strength more: He threw himself into Ebert’s voice will live on, as it “Siskel & Ebert.” Veteran throughout his prolonged his writing with renewed does in this film, a gleaming show producers, along with illness. Interviewed at length vigor (the only time, he beacon to guide us through Chaz Ebert and Siskel’s widow, here, Chaz’s warm presence, tells James, he felt like his the moviegoing dark.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 43 44 16th 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 23-27, 2014t5IF7JSHJOJB5IFBUSF 45

By Kevin B. Lee

uick, name the last great film you saw that was a true- to-life telling of how friendship works. Not a frathouse bro-mance or other Hollywood formulae for fraternizing, but a film that leaves you thinking, “This is how people really get along. This is how we talk to each other and share our lives.” Now ask yourself when was the last time you saw a great film about art. How many movies about museums can you expect to see in a given year? I’m staring at a list of 100 or so first-run movies that I saw in 2013 and only one film matches these Robert Sommer plays Johann, a security guard, in the film “Museum Hours.” criteria. Luckily that film, “Museum Hours,” fits them all pay attention to them. brilliantly. “What is it about some The film’s first shot people that makes one introduces us to Johann curious?” Johann asks in (Robert Sommer), a security voiceover. He’s speaking guard at the majestic specifically about Anne (Mary Kunsthistorisches Art Museum Margaret O’Hara), a middle- in Vienna. Seated quietly aged Canadian woman who underneath masterpieces visits the museum, but is by the likes of Rembrandt actually in Vienna to tend to and Bruegel, he seems as a comatose cousin, largely unremarkable as the guards because she was the only we pass by whenever we visit relative the hospital could “Museum Hours” depicts Vienna in a more modest and genuine light. galleries. But over the course reach. Alone in a strange city, of this film, director Jem Cohen she too is in need of help, that simply affords them time glamorous touristy way, but in will have us pay attention to and Johann does what he to spend talking and getting a way that’s more modest and him and many other things can, getting her a museum to know each other as they genuine: the subdued textures that we normally overlook, for pass and accompanying her explore the city on the cheap. of its ancient streets, and the they all possess incredibly rich on hospital visits. Neither of As we follow them, we get to warm, inviting moods of its experiences to share, if we just them have much money, but know the city as well, not in a working class cafes and bars.

46 16th Annual Roger Ebert’s Film Festival

This story might recall another famous movie about a couple exploring Vienna, Richard Linklater’s swooningly romantic “Before Sunrise.” But unlike that youthful coupling, (2012) Not Rated here there’s no chance of an amorous encounter between the leads, for reasons I’ll leave 8SJUUFOBOEEJSFDUFEby you to discover. Here the two Jem Cohen talk with no agenda other than Cast: to enjoy each other’s company, Robert Sommer as +PIBOO discussing their families, Mary Margaret O’Hara as "OOF Johann and Anne, played by Mary Margaret O’Hara, spend countless hours in the their jobs and their honest Ela Piplits as (FSEB reactions to the artwork in Vienna art museum, finding friendship in each other’s company. the museum. Johann is able to Running time: 107 minutes deliver exquisite descriptions Piplits) discusses Breugel’s detailed yet elusive in of many paintings, as he’s paintings with visitors, meaning. Cohen, a New York- 1SJOUDPVSUFTZ spent countless hours looking politely entertaining their based filmmaker, has a street- The Cinema Guild at them. Anne’s responses amateur interpretations before bred punk sensibility, having are more impulsive: She sees delivering an exhaustive (and made music films with the likes Adam and Eve hanging naked exhausting) account of the of and Fugazi. Like on the wall and talks about an historical and artistic contexts those artists, he mines poetry old boyfriend who would walk for appreciating the works. The out of the raw, unpretentious around nude “as if he was in guide’s vast array of knowledge materials of the quotidian. a tuxedo.” She catches herself is impressive, and yet somehow These happen to be the same mid-sentence: “This is too oppressive; her passion for qualities found in Breugel’s much information!” these works is obvious, and sublimely grimy panoramas of The film then takes a yet it threatens to stifle those human squalor and salvation of them, attests to a unique mysterious turn with a whom she is eagerly inviting to from over 500 years ago. As approach to casting that sees sequence of museum visitors share her enthusiasm. Cohen brings new life to the the star power of one’s simple walking as naked as some of To his credit, Cohen’s museum experience, he also humanity. the figures painted on the eye is more open and loose brings the refined eye of the “Museum Hours” is a unique walls. Is Cohen making a direct in generating meanings artist to look at everyday life. film that creates a richly comparison between the classic both in and outside the Key to tying the two worlds rewarding experience from the nudes and the live figures Kunsthistorisches. To him, together are Sommer and scraps of life. It doesn’t rely in front of his camera? Or is the streets of Vienna are O’Hara as the leads. Neither on A-list actors or expensive he evoking a state of total as delectable a gallery of are professional actors; O’Hara sets; true that it films inside openness that great art can images as the museum; he is a self-described “non- one of the world’s greatest inspire? Paradoxically, museums even juxtaposes audio from disciplinary” artist of many museums, but it also questions seem to be a place that shut a museum guide with scenes interests; her face shines with what it is that we value in the down such openness, dressed from a flea market. There’s an inner light of charismatic museum experience. Is it to as they are in an aura of class a generous assortment of goodness, while her speaking look at fancy paintings and feel and decorum. In another key everyday sounds and images style has a charming cultured, or is it to experience scene, a museum guide (Ela that manage to be sharply flightiness that resembles something more direct: to dare a hummingbird. Sommer, a to unsheathe oneself of one’s former road manager for rock expectations and inhibitions, bands who now works for the and truly embrace what a work It also questions what it is that we value Viennale Film Festival, bears of art can offer? And then, in the museum experience. Is it to look at a demeanor that exudes zen- how could one carry that open like tranquility. For Cohen mindset to embrace all of life fancy paintings and feel cultured, or is it to to entrust his film to two itself? With patient attention unproven talents, and for it and quiet devotion, these are experience something more direct? to pay off in such exquisite challenges that this film dares moments between the two to tackle.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 47 FILM SCREENING SPONSORED BY: CHAMPAIGN COUNTY ALLIANCE FOR THE PROMOTION OF ACCEPTANCE, INCLUSION, AND RESPECT

By Christy Lemire

all could have been Cretton based “Short Term 12” in deliberate pieces, Larson’s painfully mawkish, partly on his own experiences performance itself is a populated as it is working at such a center and revelation. It’s a welcome and with the kinds of kids who previously made a short film long-overdue lead role for the provide inspiration for after- on the subject. In drawing the actress who’s been so engaging school specials. Instead, story out to feature length, in supporting parts in films “Short Term 12” comes from a Cretton takes an abidingly like “The Spectacular Now” and place of delicate and truthful naturalistic, conversational “Scott Pilgrim vs. The World” understatement, which allows approach to both the and the Showtime series “The the humanity and decency of complicated issues these kids United States of Tara.” There’s its characters — and, yes, the face and the no-nonsense way a directness about her that’s lessons — to shine through their counselors try to help appealing, even here where naturally. them. she’s meant to look a little The film’s originality begins Chief among them is Brie mousy and low-key. Brie Larson plays Grace, a counselor for with the setting: a foster- Larson as the 20-something At the film’s start, Grace at-risk teens who has a troubled past care center for at-risk teens Grace, a formerly troubled seems to have achieved a herself, in “Short Term 12.” whose troubles run the gamut teen herself who now hopes comfortable balance between from depression to substance to serve as a guide for others. her professional and personal and the volatile emotional abuse to self-mutilation. Just as the extent of Grace’s lives. She handles both the flare-ups with the same Writer-director Destin Daniel painful past is revealed to us mundane routine of the place sort of cool confidence. She also has a loving, playful relationship with her longtime live-in boyfriend, the shaggy, foulmouthed Mason (played amiably by John Gallagher Jr.), who works alongside her as a supervisor at the center. But the impending departure of one kid and the arrival of another shake everything up for her. Tough, intense Marcus (Keith Stanfield) is about to turn 18, which means he’ll have to leave the home; frightened to make his way on his own, he acts out during these final days instead of facing his future. A profane and deeply felt rap song he wrote details his life of neglect and abuse, and the Grace, played by Brie Larson, and Marcus, played by Keith Stanfield, talk in a scene from “Short Term 12.”

48 16th Annual Roger Ebert’s Film Festival

(2013) Rated R

Written and directed by Destin Daniel Cretton

Cast: Brie Larson as Grace John Gallagher Jr. as Mason Keith Stanfield as Marcus Stephanie Beatriz as Jessica Frantz Turner as Jack

Running time: 96 minutes

Print courtesy: Grace and Mason, played by John Gallagher Jr., share an intimate moment as the central couple in the film “Short Term 12.” Cinedigm

This upheaval comes at a One of the subtle beauties of time when Grace and Mason are trying to create something “Short Term 12” is the way it intimately lasting for themselves: a home and a family of their own. depicts how the counselors find ways into The ambivalence Grace finds these kids’ lives and connect with them. herself feeling, and the way that emotional shift shatters hassle each other — and their Mason, are both believable and supervisors —on the road to heartbreaking. healing. fact that Cretton presents the it intimately depicts how the Cretton shows as much While some of the third- performance in one long take counselors find ways into care and kindness with the act choices his characters adds to its power. these kids’ lives and connect minutiae of the daily routine make seem a little extreme Marcus overlaps briefly with them. For Grace and — the doling out of meds, compared to the realism that with the surly and withdrawn Jayden, it’s through a shared searches for contraband and marks the rest of the film, new girl, Jayden (Kaitlyn love of drawing. But Jayden forced recreational activities Cretton consistently refrains Dever), who insists her father also uses her art to reveal the like Wiffle ball games — as from employing a tone that’s is coming to get her soon so truth about her home life, he does with the larger issues heavy-handed. “Short Term she refuses to make friends. which stirs secrets within that plague these lives in flux. 12” is a small gem in which One of the subtle beauties of Grace that she’d fought hard He also infuses his story with the uplift feels earned rather “Short Term 12” is the way for years to suppress. unexpected humor as the kids than preached.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014 • The Virginia Theatre 49

By Roger Ebert, December 7, 2011

hey must have closed seen her in years. their eyes and crossed They’re about to. In real their fingers while life, Mavis lives alone, her they were making this film. apartment is a pigpen, she It breaks with form, doesn’t chugs liters of Diet Coke and follow our expectations, and is throws back shots of bourbon about a heroine we like less at and is likely to be single the end than at the beginning. until the end of time. She There are countless movies receives an email from Buddy about Queen Bitches in high Slade (Patrick Wilson), her school, but “Young Adult” has high school boyfriend. Buddy its revenge by showing how and his wife Beth (Elizabeth miserable they can be when Reaser) have just had a baby, they’re pushing 40. and here’s a photo of the little The movie stars Charlize darlin’. That does it. Mavis gets Theron, one of the best actors into her shiny Mini, drives now working, as Mavis, a home to Mercury and intends character we thoroughly to attend the baby shower. In dislike. Not only is she knock- her mind, a tragic mistake has dead gorgeous, but we see how occurred. Buddy was intended she makes herself look that to marry her, the baby should Charlize Theron plays Mavis Gary in “Young Adult.” way, and what happens when have been hers, and damn it comes undone. She plays the it all, it’s not too late to set effect on people. In the role with each other in high school. one-time high school beauty things straight. of Buddy, Patrick Wilson faces “I remember you!” Mavis now queen in Mercury, Minn., “Young Adult” is the first one of an actor’s trickiest tells him. “You’re the hate who moved to the big city collaboration between director challenges, portraying polite crime guy!” (Minneapolis), got her own Jason Reitman and screenwriter social embarrassment. When She is never the soul of tact. condo, and is sorta famous as Diablo Cody since the success you have a wife and a new Yes, Matt was nearly killed the author of series of a young of their “Juno” (2007). Once baby and are holding a breast in a gay-bashing incident adult novels about vampires. again they center on a woman, milk pump in your hand, how in high school, despite the Back home in Mercury, they but Juno was enormously do you respond when an old inconvenience that he is think of her as a glamorous likable and Mavis seems flame turns up at the door and not gay. Now he still lives in success. Of course they haven’t unaware of her frightening expects you to drop everything Mercury with his sister, stuck and run off to Minneapolis on pause. His experience has with her? given him insight into pariahs, The character of Mavis makes “Young Adult” The impossibilities of and he immediately realizes Mavis’ behavior in “Young Mavis is nose-diving into tricky to process. As I absorbed it, I realized Adult” require some sort of disaster. What Matt knows cushioning, and the film wisely while Mavis remains clueless is what a fearless character study it is. That provides the character of that Buddy is perfectly happy sometimes it’s funny doesn’t hurt. Matt Freehauf, played by the with Beth and their baby, and comedian Patton Oswalt. Matt shudders when he sees Mavis and Mavis had nothing to do approaching. 50 16th Annual Roger Ebert’s Film Festival

(2011) Rated R

8SJUUFOby Diablo Cody %JSFDUFE by Jason Reitman Cast: Charlize Theron as .BWJT(BSZ Patrick Wilson as .BUU'SFFIBVG Patton Oswalt as #VEEZ4MBEF

Running time: 94 minutes

1SJOUDPVSUFTZ Paramount Pictures

Buddy Slade, played by Patton Oswalt, and Mavis Gary talk during a scene from “Young Adult.”

Patton Oswalt is, in a way, very particular actor, who is of bourbon neat. I’ve noticed the key to the film’s success. indispensable in the right role, a trend in recent movies: Few Theron is flawless at playing a and I suspect Reitman and his characters have mixed drinks cringe-inducing monster and casting director saw him in anymore. It’s always one or Wilson touching as a nice guy “Big Fan” and made an inspired two fingers, or four or five, of who hates to offend her, but connection with Matt. straight booze in a glass. the audience needs a point As for Mavis, there’s an Alcoholism explains a lot than one lesson.” of entry, a character we can elephant in the room: She’s of things: her single status, After I left the screening of identify with, and Oswalt’s an alcoholic. “I think I may her disheveled apartment, her “Young Adult,” my thoughts Matt is human, realistic, be an alcoholic,” she tells her current writer’s block, her lack were mixed. With “Thank sardonic and self-deprecating. hometown parents during an of self-knowledge, her denial, You for Smoking,” “Juno” He speaks truth to Mavis. awkward dinner. Anyone who Fher inappropriate behavior. and “Up in the Air,” Jason Though he’s had many says that knows damn well Diablo Cody was wise to include Reitman has an incredible track supporting parts, this is they are. But civilians (and it; without such a context, record. Those films were all so only Oswalt’s second major some of the critics writing Mavis would simply be insane. rewarding. The character of role; he was wonderful a few about this film) are slow to As it is, even in the movie’s Mavis makes “Young Adult” years ago in “Big Fan,” the recognize alcoholism. On last scene, she reminds me tricky to process. As I absorbed story of a loser who lived the basis of what we see her of what Boss Gettys says of it, I realized what a fearless through his fantasy alter ego drinking on the screen, she Citizen Kane: “He’s going to character study it is. That as a “regular caller” to sports must be more or less drunk in need more than one lesson. sometimes it’s funny doesn’t talk radio. Patton Oswalt is a every scene. She drinks a lot And he’s going to get more hurt.

Tuesday, April 22 This follows a hijacked New York 7:00 pm City subway train and how the ordinary day for dispatcher, Walter Garber, is turned upside down. Foellinger Auditorium University of Illinois campus Free student screening, hosted by Patton Oswalt Patton Oswalt will host the screening.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 51

52 16th Annual Roger Ebert’s Film Festival $POHSBUVMBUJPOT $IB[

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April 23-27, 2014 • The Virginia Theatre 53 FEATURING: THE ALLOY ORCHESTRA

By Thomas Gladysz, San Francisco Silent Film Festival

eeking a change of had its premiere in the United pace from his already States in 1922 at New York’s successful career as a Garrick Theater, where it Swedish director and actor, enjoyed a six-month run and Victor Sjöström arrived in New was widely reviewed. Alexander York in January 1923 at the Woollcott, a founding member invitation of Goldwyn Pictures. of the Algonquin Round Table Sjöström’s intention was to wrote, “It has things in it that study American production belong to the theater of all the methods and to involve himself world.” in a film or two. The Swede As an acclaimed European never thought to stay in director at work in America, America for very long. Seastrom (like Murnau and By the spring of 1924, Lubitsch) enjoyed contractual however, when notable actors, privileges not usually granted directors, and producers to studio directors, including gathered for a celebration script approval, choice of cast, of the merger of Goldwyn selection of cameraman and with the Metro and Mayer assistant director, and the right companies, Sjöström was to supervise editing. Attentive in the thick of things. By to every facet of a film, “He Who Gets Slapped” is a silent film about a scientist, who loses both his then, he had anglicized his Seastrom carefully considered breakthrough research and his wife to a dishonest man. name to Seastrom and had the stories offered to him. directed “” Andreyev’s symbolic work, his personal and professional make her a star. John Gilbert, (1924), a popular and critically with its existential themes, no humiliation. Eventually, the also on the brink of stardom, at acclaimed film for Goldwyn. doubt appealed to the émigré clown finds redemption when first refused his part, thinking Admired by newly appointed director. he falls in love with another his role too small. In a recent MGM production head Irving “He Who Gets Slapped” is circus performer, a pretty interview, Leatrice Gilbert Thalberg, Seastrom was the story of a scientist whose young bareback rider named Fountain, the actor’s daughter chosen to direct the new happiness is destroyed by a Consuelo. and biographer, said, “I heard company’s first film — a friend who steals not only Lon Chaney, a great success about Jack’s reluctance to play prestige production on which his wife but also the results as a pathetic character in a the role from several people. I the studio’s fortunes rode. of his life’s research. The previous Thalberg production, believe the first was his friend That film was “He Who Gets scientist turns bitter and, in “The Hunchback of Notre Carey Wilson, who adapted the Slapped.” desperation, joins a circus as Dame” (1923), was given the story for the film. He quoted Leonid Andreyev’s celebrated a clown whose popular act lead role as the disillusioned, Irving Thalberg to me, ‘Jack, play, the basis for the script, is based on being repeatedly masochistic clown. As with the that part will do more for your was the last dramatic work by slapped. The clown, now known hunchback, it was a choice role career than anything you have the celebrated Russian author only as “He” (even his identity in a famous story. Canadian- done so far.’ “He Who Gets whose stories had turned has been taken), is slapped born Norma Shearer, then an Slapped” was a quality movie. increasingly pessimistic. First whenever he attempts to speak emerging actress, played the Jack’s part was small, but he published in 1914, the play and, with each slap, relives bareback rider. The role helped glittered brightly in it and it

54 16th Annual Roger Ebert’s Film Festival

did indeed move his career forward.” “He Who Gets Slapped” is the story of a The supporting cast scientist whose happiness is destroyed by a is likewise notable. Ford Sterling, one of the original friend who steals not only his wife but also Keystone Cops, plays Tricaud, (1924) Not Rated a fellow clown, while veteran the results of his life’s research. actors Tully Marshall and 8SJUUFOby Leonid Andreyev, Marc McDermott each give Carey Wilson BOE Victor memorable characterizations Sjostrom as the unsavory and scheming “He Who Gets Slapped” was film set a one-day world record %JSFDUFE by Victor Sjostrom count and baron, respectively. in production between June 17 with $15,000 in ticket sales, Bela Lugosi, then a recent and July 28, 1924. It ran seven a one-week record of $71,900, Cast: émigré from Hungary, is often reels and, according to its and a two-week record of Lon Chaney as 1BVM#FBVNPOU)F said to have had an uncredited copyright registration, featured $121,574. Norma Shearer role as another clown, but amber-tinted sequences. “He In its review, the New York as $POTVFMP#FBVNPOU no evidence has surfaced to Who Gets Slapped” was the Times described the film as John Gilbert as #F[BOP support or refute the claim. first production of the newly “… a picture which defies Tully Marshall as $PVOU.BODJOJ Thalberg supervised the formed MGM, but not its first one to write about it without production but interfered release. The film was held back indulging in superlatives … so Running time: 80 minutes little with Seastrom’s work. to benefit by a holiday release, beautifully told, so flawlessly The director once said in opening on Nov. 3, 1924, at directed that we imagine it will 1SJOUDPVSUFTZ an interview, “It was like the Capitol Theatre in New York be held up as a model by all Warner Bros making a picture back home City. MGM promoted its first producers.” One fan magazine, in Sweden. I wrote the script release vigorously, if somewhat Movie Weekly, went further: without any interference, and inaccurately, with a campaign “Occasionally an exceptional actual shooting went quickly that billed the film as a “big and without complications.” production of circus life.” The continued on page 56

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 23-27, 2014t5IF7JSHJOJB5IFBUSF 55 continued from page 55 picture comes along which York News, New York Times, and, for the next 15 years, makes no attempt to pander and Los Angeles Times, as well continued to act both in movies to the box office. ‘He Who Gets as Photoplay, Cine Mundial, and on the Swedish stage. At Slapped’ is one of this sort, an Movie Monthly, and Motion age 78, Seastrom — once again artistic masterpiece.” Picture magazine. Sjöström — gave his final and The success the film enjoyed Seastrom’s seven years in the probably best remembered in New York was repeated United States were productive performance as the elderly throughout the country. and resulted in eight other professor in Ingmar Bergman’s When it opened in San highly regarded works, “Wild Strawberries’ (1957). Francisco, critics were just as including The Scarlet Letter Today, some silent films are enthusiastic. The San Francisco (1926) and The Wind (1928), remembered for their historical Call and Post headlined its both with Lillian Gish, as well importance, some for their review by calling the film a as the now-lost artistic value, and still others “truly great photoplay,” while film (1928). because a particular actor the critic for the San Francisco With the coming of sound, or director played a role in Examiner wrote,“ (the film) however, Seastrom’s career their creation. “He Who Gets must be classed among the began to falter. The director, Slapped,” a singular and even very best of the truly dramatic feeling out of synch with the profound work, possesses each pictures.” It was chosen as one quickly changing industry, of these cinematic virtues. It of the top-10 movies of the decided to return home. He stands as one of the great films Lon Chaney plays the clown in “He Who year by the Boston Post, New directed only a few more films of the silent era. Gets Slapped.”

Mayor Don Gerard welcomes Ebertfest and attendees. Here’s to another great year of cinema!

Cobalt Digital congratulates Ebertfest on 16 years in Champaign- Urbana!

Proud supporters of Ebertfest

56 16th 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 23-27, 2014 • The Virginia Theatre 57

By Roger Ebert, October 20, 2005

Nov. 16, 1959, the murders. Later in his life, rural community was dealing he’s consumed by a story that Truman Capote Capote said that if he had with the tragedy. “I don’t care would make him rich and noticed a known what would happen as a one way or the other if you famous, and destroy him. His news item about four members result of this impulse, he would catch who did this,” he tells “nonfiction novel,” In Cold of a Kansas farm family who not have stopped in Holcomb, an agent from the Kansas Blood, became a best seller and were shotgunned to death. He Kan., but would have kept Bureau of Investigation. Then inspired a movie, but Capote telephoned William Shawn, right on going “like a bat out two drifters, Perry Smith and was emotionally devastated by editor of , of hell.” Richard Hickock, are arrested the experience and it hastened wondering if Shawn would be At first Capote thought the and charged with the crime. his death. interested in an article about story would be about how a As Capote gets to know them, Bennett Miller’s “Capote” is

The late Philip Seymour Hoffman plays Truman Capote in a scene from “Capote.”

58 16th Annual Roger Ebert’s Film Festival

about that crucial period of ordinary Midwesterners and less than six years in Capote’s two pathetic, heartless killers. life. As he talks to the killers, Could anyone be less like to law officers and to the Truman Capote than Perry (2005) Rated R neighbors of the murdered Smith? Yet they were both Clutter family, Capote’s project mistreated and passed around Directed by takes on depth and shape as children, had issues with Bennett Miller as the story of conflicting distant and remote mothers,

fates. But at the heart of his had secret fantasies. “It’s like Written by reporting is an irredeemable Perry and I grew up in the Dan Futterman conflict: He wins the trust of same house, and one day he Cast: the two convicted killers and went out the back door and I Philip Seymour Hoffman essentially falls in love with went out the front,” he tells as Truman Capote Perry Smith, while needing Harper Lee. Bennett Miller is the director of Catherine Keener them to die to supply an The film, written by Dan “Capote.” as Nelle Harper Lee ending for his book. “If they Futterman and based on the Clifton Collins Jr. as Perry Smith win this appeal,” he tells his book the book “Capote” by a gold mine.” friend Harper Lee, “I may Gerald Clarke, focuses on Perry Smith and Dick Running time: 114 minutes have a complete nervous the way a writer works on a Hickock are played by Clifton breakdown.” After they are story and the story works on Collins Jr. and Mark Pellegrino. Print courtesy: hanged on April 14, 1965, he him. Capote wins the wary Hickock is not developed as Park Circus LLC tells Harper, “There wasn’t acceptance of Alvin Dewey deeply as in Richard Brooks’ anything I could have done to (Chris Cooper), the agent film “In Cold Blood” (1967), save them.” She says: “Maybe, assigned to the case. Over where he was played by Scott but the fact is you didn’t want dinner in Alvin and Mary Wilson; the emphasis this to.” Dewey’s kitchen, he entertains time is on Smith, played in “Capote” is a film of them with stories about John 1967 by Robert Blake and uncommon strength and Huston and Humphrey Bogart. here by Collins as a haunted, insight, about a man whose As he talks, he studies their repressed man in constant story of the Clutter murders great achievement requires house like an anthropologist. pain, who chews aspirin by from Capote’s point of view, it the surrender of his self- He convinces the local funeral the handful and yet shelters might have been a good movie, respect. Philip Seymour director into letting him view a certain poetry; his drawings but what makes it so powerful Hoffman’s precise, uncanny the mutilated bodies of the and journal move Capote, who is that it looks with merciless performance as Capote doesn’t Clutters. Later, Perry Smith will sees him as a man who was perception at Capote’s moral imitate the author so much tell him he liked the father, born a victim and deserves, not disintegration. as channel him, as a man Herb Clutter: “I thought he forgiveness, but pity. “If I leave here without whose peculiarities mask great was a very nice, gentle man. I The other key characters are understanding you,” Capote intelligence and deep wounds. thought so right up until I slit Capote’s lover, Jack Dunphy tells Perry Smith during one As the story opens Capote his throat.” (Bruce Greenwood), and his of many visits to his cell, “the is a well-known writer (of On his trips to Kansas he editor at the New Yorker, world will see you as a monster. Breakfast at Tiffany’s, among takes along a southern friend William Shawn (Bob Balaban). I don’t want that.” He is able to others), a popular guest on from childhood, Harper Lee “Jack thinks I’m using Perry,” persuade Smith and Hickock to talk shows, a man whose (Catherine Keener). So long Truman tells Harper. “He also tell him what happened on the small stature, large ego and does it take him to finish his thinks I fell in love with him night of the murders. He learns affectations of speech and book that Lee in the meantime in Kansas.” Shawn thinks heartbreaking details, such as appearance make him an has time to publish her famous “In Cold Blood,” when it is that they “put a different pillow outsider wherever he goes. novel “To Kill a Mockingbird,” finally written, is “going to under the boy’s head just to Trying to win the confidence sell it to the movies, and change how people write.” He shoot him.” Capote tells them of a young girl in Kansas, he attend the world premiere with prints the entire book in his he will support their appeals tells her: “Ever since I was a Gregory Peck. Lee is a practical, magazine. and help them find another child, folks have thought they grounded woman who clearly The movie “In Cold Blood” lawyer. He betrays them. Smith had me pegged, because of the sees that Truman cares for had no speaking role for Capote, eventually understands that, and way I am, the way I talk.” But Smith and yet will exploit him who in a sense stood behind accepts his fate. “Two weeks, he was able to enter a world for his book. “Do you hold him the camera with the director. If and finito,” he tells Capote far removed from , in esteem, Truman?” she asks, “Capote” had simply flipped the as his execution draws near. and write a great book about and he is defensive: “Well, he’s coin and told the Another good line for the book.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014 • The Virginia Theatre 59

By Roger Ebert, May 27, 2001

have been given only a few Some critics agreed. On the black man and a mob burns down filmgoing experiences in Criterion DVD of the film, Lee a pizzeria. That would be too my life to equal the first reads from his reviews, noting simple, and this is not a simplistic time I saw “Do the Right Thing.” that Joe Klein, in New York film. It covers a day in the life of Most movies remain up there on magazine, laments the burning a street, so that we get the screen. Only a few penetrate of Sal’s Pizzeria but fails to even to know the neighbors and see by your soul. In May of 1989 I note that it follows the death of a what small steps the tragedy is walked out of the screening at young black man at the hands of approached. the Cannes Film Festival with the police. The victim, Radio Raheem tears in my eyes. Spike Lee had Many audiences are shocked (Bill Nunn), is not blameless; he done an almost impossible thing. that the destruction of Sal’s plays his boom box at deafening He’d made a movie about race in begins with a trash can thrown volume and the noise not only America that empathized with all through the window by Mookie drives Sal (Danny Aiello) crazy, Spike Lee is the director of “Do the the participants. He didn’t draw (Lee), the employee Sal refers to but also the three old black guys Right Thing.” lines or take sides but simply as “like a son to me.” Mookie is who sit and talk at the corner. looked with sadness at one racial a character we’re meant to like. He wears steel knuckles that because they are white, and flashpoint that stood for many Lee says he has been asked many spell out “Love” and “Hate,” when they pull Radio off of Sal in others. times over the years if Mookie did and although we know Radio is the middle of a fight, it doesn’t Not everybody thought the the right thing. Then he observes: harmless, and we’ve seen that occur to them that Radio might film was so even-handed. I sat “Not one person of color has ever “Love” wins when he stages an have been provoked (Sal has just behind a woman at the press asked me that question.” But imaginary bout for Mookie, to pounded his boom box to pieces conference who was convinced the movie in any event is not the cops the knuckles look bad. with a baseball bat). the film would cause race riots. just about how the cops kill a Not that the cops look closely, There are really no heroes or villains in the film. There is even a responsible cop, who screams “that’s enough!” as another cop chokes Radio with his nightstick. And perhaps the other cop is terrified because he is surrounded by a mob and the pizzeria is on fire. On and on, around and around, black and white, fear and suspicion breed and grow. Because we know all of the people and have spent all day on the street, we feel as much grief as anger. Radio Raheem is dead. And Sal, who has watched the neighborhood’s kids grow up for 25 years and fed them with his pizza, stands in the ruins of his store. Radio Raheem wears “Love” and “Hate” on his knuckles in the film “Do the Right Thing.”

60 16th Annual Roger Ebert’s Film Festival

A pizzeria does not equal a human life, but its loss is great to Sal, because it represents a rejection of the meaning of his own life, and Spike Lee knows that and feels bad for Sal, and gives him a touching final scene with Mookie in which the (1989) Rated R unspoken subtext might be: Why can’t we eat pizza, and raise our 8SJUUFOBOEEJSFDUFEby families, and run our businesses, Spike Lee and work at our jobs, and not let Cast: racism colonize our minds with Spike Lee as .PPLJF suspicion? Radio Raheem, played by Bill Nunn, and Mookie, played by director Spike Lee, talk Bill Nunn as 3BEJP3BIFFN The riot starts because in the streets of Brooklyn in the film “Do the Right Thing.” Danny Aiello as 4BM'SBHJPOF Buggin’ Out (Giancarlo Esposito) Giancarlo Esposito is offended that Sal has only simple bad luck. Racism is so exchanging level gazes of mutual as #VHHJO0VU photos of Italians in the wall of deeply ingrained in our society contempt. Another takes place Ossie Davis as %B.BZPS his pizzeria: Sinatra, DiMaggio, that the disease itself creates when Sal speaks tenderly to Jade Pacino. He wonders why there mischief, while most blacks and (Joie Lee), and the camera pans Running time: 120 minutes isn’t a black face up there. Sal whites alike are only onlookers. slowly across the narrowed eyes tells him to open his own store Seeing the film again today, I of both Mookie and Pino (John 1SJOUDPVSUFTZ Universal Pictures and put up anyone he wants. One was reminded of what a stylistic Turturro), one of Sal’s sons. answer to Sal is that he’s kept achievement it is. Spike Lee was Neither one likes that tone in in business by the black people 32 when he made it, assured, Sal’s voice. who buy his pizza. An answer confident, in the full joy of his It is clear Sal has feelings for to that is that we see no black- power. He takes this story, which Jade, which he will probably owned businesses on the street, sounds like grim social realism, always express simply by making and if it were not for Sal and and tells it with music, humor, her a special slice of pizza. He love at the other end of the time the Koreans who run the corner color and exuberant invention. tells her what big brown eyes line. grocery, the residents would have A lot of it is just plain fun. He she has. Sal is sincere when he None of these people is perfect. no place to buy food. And the breaks completely away from says he likes his customers, and But Lee makes it possible for answer to that is that economic realism in many places in the he holds his head in his hands us to understand their feelings; discrimination against blacks has closeups of blacks, whites and when Pino calls them “niggers” his empathy is crucial to the been institutionalized for years in Koreans chanting a montage of and berates a simpleminded street film, because if you can’t try to America. And around and around. racial descriptions, and in the person. But in his rage Sal is also understand how the other person The thing is, there are no patter of the local disc jockey capable of using “nigger,” and for feels, you’re a captive inside the answers. There may be heroes (Samuel L. Jackson), who surveys that matter the blacks are not box of yourself. Thoughtless and villains, but on this ordinary the street from his window and innocent of racism either, and people have accused Lee over street in Brooklyn they don’t seems like the neighborhood’s come within an inch of burning the years of being an angry conveniently turn up wearing soundtrack. At other times, out the Koreans just on general filmmaker. He has much to be labels. You can anticipate, step by Lee makes points with deadpan principles. angry about, but I don’t find it step, during a long, hot summer understatement; there are two Lee paints the people with in his work. The wonder of “Do day, that trash can approaching slow-motion sequences involving love for detail. Notice the sweet the Right Thing” is that he is so Sal’s window, propelled by the way that people look at scene between Mookie and Tina fair. Those who found this film misunderstandings, suspicions, each other. One shows two cops (Rosie Perez), the mother of his an incitement to violence are insecurities, stereotyping and and the three old black guys child. How he takes ice cubes saying much about themselves, and runs them over her brow, and nothing useful about the eyes, ankles, thighs, and then the movie. Its predominant emotion Spike Lee had done an almost impossible closeup of their lips as they talk is sadness. Lee ends with two softly to one another. And see the quotations, one from Martin thing. He’d made a movie about race in affection with which he shows Luther King Jr., advocating non- America that empathized with Da Mayor (Ossie Davis), an old violence, and the other from man who tries to cool everyone’s Malcolm X, advocating violence “if all the participants. tempers. Da Mayor’s scenes with necessary.” A third, from Rodney Mother Sister (Ruby Dee) show King, ran through my mind.

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By Oliver Lyttelton

he cinematic revolution in the Middle East over the last few of decades, led principally by a generation of Iranian filmmakers who’ve flourished creatively despite restrictions placed on them by the regime, hasn’t necessarily carried over to every region. Saudi Arabia, for instance, is hardly known for its cinema, which isn’t especially surprising, given that movie theaters were banned in the country 30 years ago. But things have been loosening up a little: theaters started to reopen around 2005, and six years ago, “Keif al-Hal?” was billed as the first-ever Saudi film (although mostly shot in the United Arab Emirates, and available Eleven-year-old Wadjda, who is played by Waad Mohammed, dreams of owning a bicycle that she passes each day on her way only on pay-per-view in the to school. nation), and a few others have subsequently followed. But where women cannot drive or The title of “Wadjda” refers seems out of reach, until it’s “Wadjda” is reportedly the first vote (the latter is set to change to its central character, played announced that her school’s film to be made entirely within in 2015), and men and women by 12-year-old actress Waad Koran-recitation competition the country, and even more have to be segregated in public. Mohammed. Wadjda is more carries a 1,000 riyal prize. As unexpectedly, it’s a film by a Most remarkably of all, it’s all rebellious than most around she ekes closer to it, however, first-time female filmmaker, one of the best films of the her; she makes mixtapes of things start to fall apart at Haifaa Al-Mansour, in a country year. forbidden music, wears battered home, as her mother (Reem Converse to her school, and, a Abdullah), who’s unable to born hustler, sells home-made have more children, begins to football bracelets to classmates, fear that her mostly absentee There’s enormous warmth and comedy, and a all incurring the wrath of husband (Sultan Al Assaf) is on headmistress Ms. Hussa (Ahd). the lookout for a second bride. fine observational eye of a world that’s pretty More than anything else, she The word ‘bicycle’ instantly alien to Western audiences, which makes it wants a bike to race her friend summons up images of a Abdullah (Abdullrahman Al certain Italian neo-realist consistently fascinating. Gohani) on, but the 800 riyal classic, and that’s certainly price of the bike she covets the kind of neighborhood that

64 16th Annual Roger Ebert’s Film Festival

Al-Mansour is in here, with a simple pristine style that mostly gets out of the way of the story, and a touching (2012) Rated PG humanism that’s reluctant to paint any of her characters as pure hero or villain (even the 8SJUUFOBOEEJSFDUFEby strict, humorless Ms. Hussa is Haifaa Al-Monsour given more texture than you’d expect). Cast: There is one major hero, of Waad Mohammed as 8BEKEB Reem Abdullah as .PUIFS course: Wadjda herself, who Abdullrahman Al Gohani as in the hands of Mohammed "CEVMMBI is one of the most memorable on-screen protagonists in Running time: 98 minutes some time. Essentially fearless, smarter than everyone else 1SJOUDPVSUFTZ around her, and conning Sony Pictures Classics her way around Riyadh, it’s the showcase of a terrific performance by Mohammed (whose parents will apparently Haifaa Al-Monsour is the director of “Wadjda.” only let her act until she’s 16); the young actress owns every Her mother, focused almost All this makes the film second she’s on screen. She’s entirely on pleasing her sound rather dry, and it’s not alone, though; while some husband yet unable to bear not at all; there’s enormous performances are raw and a sons, is forced to consider warmth and comedy, and little rough around the edges, buying a dress she can’t a fine observational eye by the director. there are a few other standouts, afford to keep her husband’s of a world that’s pretty The film doesn’t sugarcoat not least from Abdullah. attention. And at school, Ms. alien to Western audiences, the situation in Saudi Arabia The two carve out a rare and Hussa (who might have her which makes it consistently — far from it — but by the complex mother/daughter own secrets) expels one girl fascinating. Al-Mansour end, it makes clear in that relationship that feels entirely for being caught with a boy knows she has to play the in the likes of Wadjda, there authentic, in both the conflicts and reads too much into the audience like a fiddle (the are real hopes for progress and the moments of bonding. friendship of two others. Al- Koran competition near the and change in years to come. It’s appropriate that the Mansour never overeggs this end is nail-bitingly tense), That it manages to do so in two are the film’s standouts, stuff, but it’s omnipresent, and yet it feels honest, rather such a technically adept way because it’s so much a film constantly brewing away in than manipulative. As with (much of the production team that’s about the role of women the background, and in a world last year’s “A Separation,” is German), with such clarity in a man’s world. Wadjda is where an independent-minded which it shares some surface of storytelling, and is able to constantly told what she can’t 14-year-old girl can be shot by similarities with, much of it is do with humor, emotion and do — ride a bike, uncover her the Taliban, it’s a vital thing down to a watertight, hugely smarts, is something close to a face, follow her own path. to be putting on the agenda. satisfying screenplay, written miracle.

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By Roger Ebert, August 8, 2012

Simple Life” paints portraits of two good people in gentle humanist terms. It filled me with an unreasonable affection for both of them. Here is a film with the clarity of fresh stream water, flowing without turmoil to shared destiny. No plot gimmicks. No twists and turns. Just a simple life. The life is that of Ah Tao, who was orphaned during the Japanese occupation of Hong Kong, spent her entire life in the service of four generations of a Chinese family, and is now the servant of the only family member still living in China. He is Roger, a movie producer. They have a settled routine: During a meal, he puts out his hand, knowing she will be standing behind him with a Ah Tao, played by Deanie Ip, and Roger, played by Andy Lau, share a laugh in a scene from “A Simple Life.” The movie, which bowl of rice. No words. was inspired by the true story of producer Roger Lee and his servant, depicts a couple who develops an unexpected bond. But this meal, which opens Ann Hui’s film, doesn’t resists his money, protests that contain the full truth of their his presents cost too much, “A Simple Life” is content to regard these relationship. That is something tells him to spend more time at we discover at the same time his job and less on his visits to two inward people as they express they do, when Ah Tao (Deanie her. This despite the fact that Ip) suffers a stroke, and Roger she literally has no one else love and care in their quiet ways. (Andy Lau) takes charge of in her life (all the members her care. He assumes she will of Roger’s family now live in a grim and barren place, with She doesn’t complain. Deanie continue to live with him America). toothless old people staring Ip, who won half a dozen “best and says he will hire her a Is she angry? Not at all. She vacantly into space. Although actress” awards for this role, caregiver. She wants nothing eagerly awaits his visits. But the supervisor tells her she achieves the miracle of giving to do with that. She wants to having spent a lifetime caring has the “coziest” private room, Ah Tao integrity, humanity live in an old folks home, and for others, she now feels badly it is a sterile cubicle with no and lovability without seeming that’s that. about being cared for. The ceiling, so the cries and calls of to try. She is a beautiful and Throughout the film, she retirement home at first seems others can easily be heard. serene woman. The role of

66 16th Annual Roger Ebert’s Film Festival

Roger is taken by Andy Lau, a big Hong Kong star, who here seems more ordinary and less heroic than in most of his roles. We see that although they (2011) Not Rated have never articulated it, they %JSFDUFEby have become dependent on Ann Hui each other. She raised him from infancy. When we meet 8SJUUFOby his mother, she seems perfectly Susan Chan and Yan-lam Lee nice, but there isn’t the same unspoken bond. Neither Ah Tao Cast: or Roger is demonstrative; I Andy Lau as 3PHFS found myself waiting for a hug Deanie Ip as "I5BP that never came. But they care. Hailu Qin as .T$IPJ Life in the nursing home seems less grim than at Running time: 118 minutes first. Ah Tao recovers from Roger comforts Ah Tao in a scene from “A Simple Life.” 1SJOUDPVSUFTZ her stroke, and there is a China Lion Film Distribution wonderful scene when they go “A Simple Life” is content to but how much more moving on a walk and he teases her regard these two inward people it is when she is remembered. that old Uncle Kin (Paul Chun) as they express love and care The movie has an emotional has a crush on her. She tries to in their quiet ways. A movie in payoff I failed to anticipate. hit him for that — playfully, which the old lady is forgotten It expresses hope in human like a girl. by the family would have nature. It is one of the year’s What we understand is that been predictable melodrama, best films.

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By Roger Ebert, March 25, 2009

wo actors. One from Africa. The other who was a bodyguard for . Who but Ramin Bahrani would find these men and pair them in a story of heartbreaking depth and power? Bahrani is the new great American director. He never steps wrong. In “Goodbye Solo,” he begins with a situation that might unfold in a dozen different ways and makes of it something original and profound. It is about the desire to help and the desire to not be helped. In Winston-Salem, N.C., a white man around 70 gets into the taxi of an African immigrant. He offers him a deal. For $1,000, paid immediately, he wants to be driven in 10 days to the top William, who is played by Red West, and Solo, who is played by Souléymane Sy Savané, talk in a scene from “Goodbye Solo.” of a mountain in Blowing Rock National Park, to a place so windy that the snow falls a friend of Elvis in high school. up. He says nothing about a He was his bodyguard and Now look at these actors. They aren’t playing return trip. The driver takes driver from 1955 — a charter the money but is not happy member of the “Memphis themselves, but they evoke their characters about this fare. He asks some Mafia.” He split with Elvis after questions and is told to mind breaking the foot of the cousin so fully that they might as well be. his own business. who was bringing Elvis drugs, Now look at these actors. and telling him he would work They aren’t playing themselves, his way up to his face. for just such a job. Solo lives to smile. We are not speaking but they evoke their characters Souleymane Sy Savane plays in Winston-Salem, is married of an odd couple here. We’re so fully that they might as well Solo, the taxi driver. He is to a Mexican-American woman, speaking of human nature. You be. Red West plays William, from the Ivory Coast, although adores the woman’s young can’t learn acting like this. the white man. West’s face is the character is from Senegal. daughter, acts as her father. Bahrani worked with the a map of hard living. He was a Savane was a flight attendant William’s face was made to look actors for months. Savane Marine and a boxer. He became for Air Afrique. Solo is studying pissed off. Solo’s face was made drove a taxi in Winston-Salem.

68 16th Annual Roger Ebert’s Film Festival (2008) Rated R

%JSFDUFEby

Ramin Bahrani

8SJUUFOby Ramin Bahrani and Bahareh Azimi

Cast: Souléymane Sy Savané as Solo Red West as 8JMMJBN Diana Franco Galindo as "MFY

Running time: 91 minutes

1SJOUDPVSUFTZ Solo and William share a conversation in a car in a scene from “Goodbye Solo.” Roadside Attractions

Red West spent a lifetime industry, happy to help. Solo and William both respect. rehearsing William (although The film sees cars being The film is not finally about in real life, he is said to be repaired in front yards, a few what William and Solo do. It kind and friendly). Bahrani customers at a downtown is about how they change, and his cinematographer, movie theater on a weekday which is how a great movie Michael Simmonds, discussed night, a lonely motel room, lifts itself above plot. These every shot. Although this is a bar. The next few times two lives have touched, learned and my brother and me.” He an independent film in its William calls a cab, he begins and deepened. Not often do loves the city, and you can tell heart and soul, it is a classical to notice the driver is always we really care this much about that in this film. He is curious film in its style. It is as pure Solo. What’s up with that? characters. We sense they’re about people, and you can tell as something by John Ford. With almost relentless good not on the plot’s automatic that from all his films. He told Only its final shot might call cheer, Solo insinuates himself pilot. They’re feeling their way me he asks the same question attention to itself — but into William’s life — becomes in life. It’s a great American of all of his characters: How do actually, we aren’t thinking his chauffeur, his protector, his film. you live in this world? about the shot, we’re thinking adviser, even for a few nights, “Goodbye Solo” is Bahrani’s A film like this makes me about what has happened and his roommate and almost his third feature, after “Man wonder if we are coming why. friend. It occurred to me that Push Cart” (2005) and “Chop to the end of the facile, Don’t get the idea the whole Red West may have performed Shop” (2007). His films are snarky indie films. We live in film takes place in the taxi. It similar functions for Elvis, about outsiders in America: desperate times. We are ready takes place in Winston-Salem, another man pointed to doom. a Pakistani who operates a to respond to films that ask a city it wears with familiarity Neither William nor Solo ever coffee-and-bagel wagon in that question. How do you because Bahrani was born once speaks about their real Manhattan, Latino kids who live in this world? Bahrani and raised there. We feel the subject, about what William scramble for a living in an auto knows all about flashy camera rhythms of Solo’s life. Of his seems to be about to do. It parts bazaar in the shadow work, tricky shots, visual relationship with his wife, hangs in the air between of Shea Stadium. Now a stunts. He teaches film at Quiera (Carmen Leyva), and them. Alex, the stepdaughter, Senegalese who wants to help Columbia. But like his fellow their pride in her daughter, comes to love old William, who an American whose weathered North Carolinian, David Gordon Alex (Diana Franco Galindo). has the feel of a grandfather face belongs in a Western. Green, he is drawn to a more Like many taxi drivers, Solo about him. But no, Alex is Bahrani, whose parents level gaze, to a film at the knows where you can find not one of those redeeming immigrated from Iran, felt service of its characters and drugs or a sexual partner. movie children. She doesn’t like an outsider when he was their world. Wherever you live, But he isn’t a pusher or a understand everything and growing up in Winston-Salem: when this film opens, it will be pimp; he’s a one-man service brings in an innocence that “There were blacks, whites, the best film in town.

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By Roger Ebert, December 20, 1989

or weeks now, we’ve been reading in the papers about public apologies by governments of the Eastern bloc. The Russians admit they were wrong to invade Afghanistan and Czechoslovakia. The East Germans tear down the Berlin Wall and denounce the secret luxuries of their leaders. The Poles and Hungarians say Marxism doesn’t work very well. There is a temptation for an American, reading these articles, to feel smug. And yet — hold on a minute, here. Ron Kovic, who is played by Tom Cruise, in a scene from “Born on the Fourth of July.” We had our own disastrous foreign policy mistake, the war hostility they experienced from bottom he was a demoralized, will prepare you for what he in Vietnam. When is President the anti-war movement. spiteful man who sought does in “Born on the Fourth Bush going to get up before Eventually, both men escape in booze and drugs and of July.” He has been hailed Congress and read an apology turned against the war, Kovic Mexican whorehouses. Then for years now as a great to the Vietnamese? Never, is most dramatically. He and he began to look outside of young American actor, but the obvious answer. We hail the his wheelchair were thrown himself for a larger pattern only his first hit film, “Risky Soviet bloc for its honesty but out of the 1972 Republican to his life, the pattern that Business,” found a perfect see no lessons for ourselves. convention, but in 1976 he inspired his best-selling match between actor and role. And yet we have been issuing addressed the Democratic autobiography, “Born on the “Top Gun” overwhelmed him our own apologies, of a sort. convention. And if you wanted Fourth of July.” with a special-effects display. A film like Oliver Stone’s to, you could say his 1976 Writer-director Stone, who “The Color Of Money” didn’t “Born on the Fourth of July” speech was the equivalent of based his earlier film “Platoon” explain his behavior in crucial is an apology for Vietnam, one of those recent breast- on his own war experiences, final scenes. “Cocktail” was a uttered by Stone, who fought beatings in the Supreme has been trying to film the cynical attempt to exploit his there, and Ron Kovic, who was Soviet. We do apologize for our Kovic story for years. Various attractive image. Even in “Rain paralyzed from the chest down mistakes in this country, but stars and studios were attached Man,” he seemed to be holding in Vietnam. we let our artists do it instead to the project, but it kept something in reserve, standing Both of them were gung-ho of our politicians. being canceled. back from his own presence. patriots who were eager to Kovic came back from the And perhaps that’s just In “Born on the Fourth of answer their country’s call to war with a shattered body, but as well, because by waiting July,” his performance is so arms. When they came back it took a couple of years for the this long Stone was able to good that the movie lives home, they were still patriots, damage to spread to his mind use Tom Cruise in the leading through it. Stone is able to hurt and offended by the and spirit. By the time he hit role. Nothing Cruise has done make his statement with

70 16th Annual Roger Ebert’s Film Festival Tom Cruise as 3PO,PWJD

A film like Oliver Stone’s “Born on the Fourth of July" is an apology for Vietnam, uttered by Stone, who fought there, and Ron Kovic, who was paralyzed from the chest down in Vietnam. (1989) Rated R

%JSFDUFEby Cruise’s face and voice and his mind: There was a war in Oliver Stone doesn’t need to put everything Vietnam, and his only worry 8SJUUFOby into the dialogue. was that he would miss the Oliver Stone and Ron Kovic The movie begins in the action. Oliver Stone is the director of “Born on the Fourth of July.” early 1960s with footage He knew there was a danger Cast: of John F. Kennedy on the of being wounded or killed, Tom Cruise as 3PO,PWJD television exhorting, “Ask but, hell, he wanted to make a last prom to the battlefield. In Raymond J. Barry as .S,PWJD not what your country can sacrifice for his country. these scenes, Cruise still looks Caroline Kava as .ST,PWJD do for you, ask what you can His is the kind of spirit all like Cruise — boyish, open- Josh Evans as 5PNNZ,PWJD do for your country.” Young nations must have, from time faced — and I found myself Ron Kovic, star athlete and to time. The problem with the wondering if he would be able Running time: 145 minutes high school hero, was the kind Vietnam War is that it did not to make the transition into the of kid waiting to hear that deserve it. horror that I knew was coming. 1SJOUDPVSUFTZ Universal Pictures message. And when the Marine There was no way for a He was. recruiters came to visit his patriotic small-town kid to Stone was in combat for a high school, he was ready to know that, however, and so we sign up. There was no doubt in follow young Kovic from his continued on page 72

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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 23-27, 2014t5IF7JSHJOJB5IFBUSF 71 continued from page 71

year. In “Platoon,” he showed wants to keep it all the same. that he leave home. Kovic and Cruise could have us firefights so confused that It’s his. And a distracted doctor In a scene of Dantean evil, fallen into, but they fall into we (and the characters) often absent-mindedly explains Stone shows Kovic in Mexico none of them. had little idea where the enemy about equipment shortages and with other crippled veterans, Although this film has vast was. In “Born on the Fourth of “budget cutbacks” in care for paying for women and drugs amounts of pain and bloodshed July,” Stone directs a crucial the wounded vets. to take away the pain, and and suffering in it, and is at battle scene with great clarity Back in civilian life, Kovic finally, shockingly, abandoned home on battlefields and in so that we can see how Kovic is the hero of a Fourth of July in the desert with another hospital wards, it proceeds made a mistake. That mistake, parade, but there are peaceniks veteran with no way to get from a philosophical core: It which tortures him for years on the sidewalks, some of back to their wheelchairs or to is not a movie about battle afterward, probably produced them giving him the finger. He town. It’s the sort of thing that or wounds or recovery, but a the loss of focus that led to his feels more rage. But then his happens to people who make movie about an American who crippling injury. emotional tide turns one night themselves unbearable to other changes his mind about the The scenes that follow, in a in the backyard of his parents’ people who don’t give a damn war. The filmmakers realize military hospital, are merciless home, when he gets drunk with about them. (In a nod toward that is the heart of their in their honesty. If you have a fellow veteran, and he finds “Platoon,” the other crippled story and are faithful to it, even once, for a few hours they can talk about things veteran in the desert is played even though they could have perhaps, been helpless in a nobody else really understands. by Willem Dafoe, co-star of spun off in countless other sickbed and unable to summon It is from this scene that that film; the other co-star, directions. This is a film about aid, all of your impotent rage the full power of the Cruise Tom Berenger, is the Marine ideology, played out in the will come flooding back as performance develops. who gives the recruitment personal experiences of a the movie shows a military Kovic’s life becomes a series speech in the opening scenes.) young man who paid dearly care system that is hopelessly of confusions: bar brawls, self- “Born on the Fourth of July,” for what he learned. Maybe overburdened. At one point, pity and angry confrontations one of the best movies of the instead of anybody getting up Kovic screams out for a suction with women he will never be year, is one of those films that in Congress and apologizing for pump that will drain a wound able to make love with in the steps correctly in the opening the Vietnam War, they could that might cost him his leg. ordinary way. His parents love moments and then never steps simply hold a screening of this He will never have feeling in him but are frightened by his wrongly. It is easy to think of movie on Capitol Hill and call the leg, but, God damn it, he rage. Eventually it is suggested a thousand traps that Stone, it a day.

“Born on the Fourth of July” is based on the best-selling autobiography of the same name by Vietnam War veteran Ron Kovic. In the film, Kovic is portrayed by Tom Cruise.

72 16th Annual Roger Ebert’s Film Festival April 23-27, 2014t5IF7JSHJOJB5IFBUSF 73

By Chris Morris

you weren’t looking for it, it was easy to miss the L.A. premiere of Bayou Maharajah, Lily Keber’s magnificent new documentary about the New Orleans singer- pianist James Booker. It was scheduled for a 5 p.m. Tuesday screening at Outfest, the local LGBT film festival. At this point, it may be the only screening the picture will receive locally for some time: It still has not secured theatrical distribution, possibly because of clearance issues relating to the voluminous amount of music, almost all of it splendid, in the film. But it may show up at a film festival in your neck of the woods. It was odd to see the feature in the context of a gay film fest, since Booker’s homosexuality is treated so matter-of-factly that it’s one of the lesser narrative threads in the film. Photo courtesy of Historic New Orleans Collection (Another reason it plays in the New Orleans R&B musician James Booker plays the piano during a concert. The movie “Bayou Maharajah” is based on Booker’s background, Keber suggested extraordinary musical talent. in a post-screening chat at the DGA 2 Theater, may be the divergent retelling from a host 1939 and died, at the age of still remains one of the city’s reluctance of those who knew of witnesses, none of whom 43, in 1983. He stands in a line least-known giants. The fact Booker, whether intimately or appears to have the real story. of Crescent City piano wizards that he cut just two studio casually, to discuss his sexuality Every element of what could that includes Edward Frank, albums in his own right during on camera.) But even the most have been a luridly told tale is Tuts Washington, Archibald, his lifetime — Junco Partner radically sensational aspects recounted even-handedly, with Professor Longhair and Fats (1976) and Classified (1982) — of his life — his alcoholism, the heat turned down low. Domino, to name just a few. may have something more to do his addiction to heroin and The focus of “Bayou Jelly Roll Morton was clearly with his comparative obscurity. cocaine — get measured Maharajah,” as it should be, is a model of sorts. But Booker’s It’s a pity, for Booker is treatment. One violent piece of on Booker’s extraordinary music. style, though rooted in New beyond compare. Reared in a Booker’s legend — the loss of He was a pure product of New Orleans jazz and R&B, was sui family of Baptist ministers, he his left eye — receives widely Orleans, where he was born in generis. Perhaps that is why he learned piano and organ (and

74 16th Annual Roger Ebert’s Film Festival

While there is no shortage of mind-boggling detail, first-time filmmaker Keber never leans on it for effect. The movie is emphatically about Booker’s music, (2013), Not Rated

and you get to hear plenty of it. 8SJUUFOBOEEJSFDUFEby Lily Keber saxophone as well) as a child, about Booker is audible there. and showed prodigious skill on It’s a combination of taut, Cast: Joe Boyd the keyboards. He was as at profoundly felt singing and Douglas Brinkley home with the classics as he dizzying piano improvisation. Lily Keber is the writer and director of Henry Connick Jr. was with the funk. He was just But Booker’s keyboard work “Bayou Maharajah.” 14 when he recorded his first is never merely ornamental. Running time: 90 minutes hit, “Doin’ the Hambone,” for It arcs over itself in a kind of Imperial Records. A No. 3 R&B instrumental embellishment of 1SJOUDPVSUFTZ hit, “Gonzo,” followed in 1960; the pain one hears in Booker’s Lily Keber its title inspired the handle for vocal. I’ve watched the complete Hunter S. Thompson’s school of “True” dozens of times on unbridled journalism. Booker YouTube, and it seldom fails to became a preferred New Orleans bring me to tears. At the DGA sideman, playing with just screening, some of the audience about every bandleader of note. broke out in applause. But his own preferences turned After his Montreux moment, to hard drugs, and he wound it was almost all downhill for up, in his words, “partying on Booker. He returned to New the Ponderosa” — doing a stint Orleans from Europe and found flights — no place more so at Louisiana’s notorious Angola that he couldn’t get a gig. Maple than in a sequence near the prison farm, where bluesmen Leaf Bar owner John Parsons end of the film, in which a Lead Belly and Robert Pete provided him with about the long, frenetic Booker arabesque Williams also did time. only steady work he would get is set against sped-up black- Booker had opportunities to for the remainder of his life. Photo courtesey of Roland Stucky and-white footage of Crescent record — the master tapes of a For a time, he took a job for the The film focuses on James Booker’s City barrooms at night. (This 1973 album cut with Dr. John’s city of New Orleans, sitting at unique R&B music. material and other vintage band disappeared after he a desk behind a computer in a home movie footage beautifully absconded with them for “safe municipal finance department. music, and you get to hear evoke the city in Booker’s keeping” — but he found his A year after his last 1982 plenty of it. heyday of the ‘70s and ‘80s.) greatest success as a performer recording session (with producer Most of the interview In all, it’s a beautiful picture, on the European festival circuit. Scott Billington, for Classified), subjects in the film — most and you should — must, “Bayou Maharajah” reaches he died, unattended, sitting notably Harry Connick, Jr., actually — keep your eyes the height of intensity with in a wheelchair in a hallway of whose father, for a time New open for it. “Bayou Maharajah” a performance drawn from Charity Hospital. Though his Orleans’ district attorney, was is subtitled The Tragic Genius Booker’s 1978 appearance at death was reputedly the result exceptionally tight with the of James Booker, but the film Switzerland’s Montreux Jazz of cocaine abuse, the truth is musician — are plainly in awe never wallows in its hero’s dark Festival, a rendition of R&B likely that his body just gave of his work. At one juncture, fate. It’s a very poised piece pianist Lloyd Glenn’s “True.” out after years of hard living. Connick sits at a piano and of moviemaking that declines Keber lets the song run “Bayou Maharajah” could picks apart Booker’s style, to sink to the maudlin, and for most of its seven-minute easily have focused on the most a flexible, wholly original instead invites viewers to revel length, making one small sordid aspects of Booker’s life. amalgam of classical, R&B, in the unique genius of its and imperceptible edit. I’ve While there is no shortage of and jazz. But the music resists subject, who deserves a seat long found this performance mind-boggling detail, first-time analysis in the end, and you high in the pantheon of New to be among the really great filmmaker Keber never leans sit almost stupefied by its Orleans’ greats. Even in that achievements in any genre. on it for effect. The movie is brilliance. One winds up swept crowded field, Booker stands by Everything that is astonishing emphatically about Booker’s away by the wildness of its himself.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 75 By Annabeth Carlson, The Daily Illini

Diane and Gary Los Angeles theaters they had Stensland’s Urbana home, it made.” stacks of books with topics In 2005, Gary persuaded ranging from Abraham Lincoln Diane to join him at Ebertfest. to weather are found in every She, too, says she was room, and photographs of their immediately “hooked.” She says family, friends and travels paper she enjoyed seeing movies that the walls. Diane and Gary are she would have never gone to if just shy of 70 years old, and not for Ebertfest and learning these items tell the story of about their background. their life. One of the most memorable One part of their story sits on festival moments for Diane, a their dining room table. Festival retired U.S. Postal Service mail passes, programs and mugs from carrier, was in 2006, when she the Roger Ebert’s Film Festival saw “My Fair Lady.” cover Diane’s floral tablecloth. Diane says that the movie Collectively, the Stenslands played on a screen with 70 Photo by Melissa McCabe, The Daily Illini have attended 12 Ebertfests. millimeter film, which brought Diane and Gary Stensland of Urbana showcase their memorabilia from past Roger Gary, a retired research out every detail, like the Ebert’s Film Festivals. Together, the couple has attended 12 Ebertfests and plan on scientist for the Illinois State dresses and hats. attending this year’s Festival. Water Survey, began attending “Oh!” she sighs, closing her the festival in 2002. In the eyes and tilting her head back would be there,” she says with since Ebert’s death. In 2008 beginning, he says he did with a wide smile. “It was a a laugh. when Ebert was not at the not know a lot about movies beautiful, stunning movie.” Because Gary often spends festival because of illness and but realized he could learn Every year, Diane also enjoys festival mornings at the last year because of his death, a lot about film by going to standing in line before each day workshops, Diane says she Diane says something was Ebertfest. of the festival. passes the time by talking to missing. “Once I got in there and saw At Ebertfest, attendants other people in line. “I always looked forward to it, I was hooked,” Gary says. pick their seats in the order Through that, the Stenslands hearing him talk and introduce One aspect that Gary says they were standing in line, say they have made friends, movies,” Diane says. draws him back to the festival and can try to keep the same such as a couple from Ohio who Gary agreed, saying that each year is the accompanying seats for the entire day. For the coincidentally worked with Ebert was very likeable and a academic panels and workshops. Stenslands, it is important to Diane’s cousin. knowledgeable, good speaker. Through these sessions, Gary get there early, especially since “We find the conversations Pulitzer Prize-winning critic says he has learned about the Gary likes seats that are on the we have interesting and quite Ebert in 1999 introduced financial and operational parts right side on the aisle. different because we don’t the Festival — then called of film, such as how a movie is If the first movie starts at 1 have another group that talks Roger Ebert’s Overlooked Film distributed. p.m., Diane says she shows up about movies.” Gary says. “It Festival — to the Champaign- “If you spend millions of at 9 a.m. or earlier. is a unique group; they are Urbana community. His goal dollars making a movie, how do “There are always at least articulate and intelligent.” for the film festival was to play you convince theaters to show four people ahead of me. It Once inside, Gary says he movies that went unnoticed by it? I learned that if movies got wouldn’t matter if I came at 6 looks forward to all of the critics and to bring the public in the key New York City and in the morning, I think they movies. together to appreciate them, “I haven’t looked at the list and that’s exactly what it has (of this year’s movies) yet, but done for the Stenslands. “There are always at least four people ahead it doesn’t affect that I am going Of all the films Diane and to go,” he says. Gary have seen at Ebertfest, of me. It wouldn’t matter if I came at 6 in This year, Diane says she is their favorite is “Departures,” anxious to see the first movie; a Japanese film about a cello the morning, I think they would be there.” a documentary on Roger Ebert player who lost his orchestra — Diane Stensland — called “Life Itself.” job and became an undertaker. This is the second festival “In Japan, there is a special

76 16th Annual Roger Ebert’s Film Festival

“I haven’t looked at the list (of this year’s #Z.FHBO+POFT 5IF%BJMZ*MMMJOJ $IB[BOE/BUFXPSLFEWFSZDMPTFMZ XJUI3PHFSPOQSPHSBNNJOHUIF movies) yet, but it doesn’t affect 5IFBTTPDJBUFEJSFDUPSPG3PHFS GFTUJWBMPWFSUIFZFBST &CFSUT'JMN'FTUJWBM .BSZ4VTBO DI)PXEPFTUIFMFHBDZPG that I am going to go.” #SJUU TQFBLTBCPVUUIFGJMNGFTUJWBMT SFWJFXJOHGJMNTDPOUJOVF  BEWBODFNFOUBGUFSUIFQBTTJOHPG MSB3PHFSTWPJDFJTTUJMMWFSZ — Gary Stensland — GJMNDSJUJD3PHFS&CFSU NVDIBMJWFWJB3PHFS&CFSUDPN UIFSFBSFDPOUSJCVUPSTXIP The Daily Illini8IBUXBTUIF XBUDIGJMNTBOEXSJUFSFWJFXTGPS burial ceremony involved and “She’s a mainstay!” Diane EFDJEJOHGBDUPSGPS3PHFSXIFOIF UIFTJUF BMMPGXIPN3PHFSBENJSFE the undertaker would dress (the says. DIPTFXIJDINPWJFTUPTDSFFO BOEGFBUVSFEUIFJSXSJUJOHPOIJT Mary Susan Britt3PHFSBMXBZT TJUFQSJPSUPIJTQBTTJOH.BUU deceased). It was so delicate At the end of the festival, DIPTFBOBSSBZPGGJMNT8IFUIFSJU 4FJU[JTBNBJODPOUSJCVUPSBOE and they would put the clothes Diane and Gary will bring home XBTBDMBTTJDNPWJFUIBUIFMPWFE DVSSFOUMZTFSWFTBTFEJUPSJODIJFGPG on the body like a ballet,” Gary more film passes, programs PSBOJOEJFXJUIPVUBEJTUSJCVUPS  3PHFS&CFSUDPN says. “The background cello and mugs to add to their IJTNJTTJPOXBTTFMFDUJOHGJMNT DI'SPNZPVSQFSTQFDUJWFBT music was special.” collection. These items, like XFMMEFTFSWJOHPGBTFDPOEMPPLBOE BTTPDJBUFEJSFDUPS IPXEPFTJUGFFM UPCFBCMFUPDPOUJOVFUIFGFTUJWBM Following the screening, their books and photographs, CSJOHJOHUIFNUP&CFSUGFTU DI)PXBSFGJMNTDIPTFOOPXUIBU JOIPOPSPGIJN  Diane has ordered the film five will add to the story of their IFIBTQBTTFE MSB3PHFSIBTBMXBZTFYQSFTTFEB times to give to friends and life. But more importantly, MSB"MUIPVHI3PHFSJTOPUXJUI EFTJSFGPSIJTGFTUJWBMUPMJWFPOBOE relatives. they will carry with them the VT XFBSFLFFQJOHXJUIUIFTQJSJU DPOUJOVFUPQSPWJEFUIFDPNNVOJUZ All in all, both say they friendships they’ve made and PGIPXIFBMXBZTDIPTFUIFGJMNT XJUIBTQBDFUPDFMFCSBUFHSFBU GJMNTBOEUIFSFMFWBOUEJTDVTTJPOT really enjoy every aspect of the the appreciation of movies 4PNFGJMNTDPNFGSPNMJTUTUIBU 3PHFSESFXVQPWFSUIFQBTU UIFZJOTQJSF5ISPVHI&CFSUGFTU XF festival. Diane even admires they’ve seen at Ebertfest. ZFBST BOEBEEJUJPOBMGJMNTBSF IPOPS3PHFSBOEBMMUIBUIFIBT the lady who always moves That’s what Ebert wanted the TFMFDUFECZIJTXJGF$IB[BOE HJWFOUPIJTIPNFUPXO BMNBNBUFS the lectern on and off stage Festival to be, and that’s what GFTUJWBMEJSFDUPS/BUF,PIO#PUI BOETVSSPVOEJOHXPSME between movies. it has become.

April 23-27, 2014t5IF7JSHJOJB5IFBUSF 77

78 16th Annual Roger Ebert’s Film Festival A look back at the 2013 Festival Photos courtesy of Thompson McClellan Photography

Festival director Nate Kohn introduces Chaz Ebert at the 2013 Opening Night Gala, which was hosted by President and Mrs. Robert Easter at the president’s house.

Patrons wait in the “rush ticket line” for a screening of the movie “The Festival director Nate Kohn and Chaz Ebert watch the scene from Orson Welles’ “Chimes at Spectacular Now.” Midnight,” which opened last year’s Festival.

April 23-27, 2014t5IF7JSHJOJB5IFBUSF 79 “Julia” actor Tilda Swinton pays homage to Festival founder Roger Ebert by spearheading 1,500 audience “In the Family” director Patrick Wang and actor Trevor members in a “dance-along” to Barry White’s “You’re the First, the Last, My Everything.” St. John extend gratitude after their film received a standing ovation at last year’s Ebertfest.

Chaz Ebert and members of the University of Illinois Black Chorus lead the Festival audience in singing “Those Were the Days.”

Festival guest and “Blancanieves” director Pablo Berger receives a Vikram Gandhi, director of “Kumaré,” speaks The writer and director of “Oslo, August standing ovation after his screening at Ebertfest. on-stage after the screening of his film. 31st” Joachim Trier speaks at Ebertfest.

80 16th Annual Roger Ebert’s Film Festival Deborah Townsend moderates the panel discussion “Challenging Stigma Through the Sgt. Erik Goodge and producer and co-director Sabrina Lee speak about the Arts” held at the Illini Union. film “Not Yet Begun to Fight” at the 2013 Festival.

Haskell Wexler, director of photography for the Nate Kohn (Ebertfest director), James Ponsoldt (director), Shailene Woodley (actor) and Steve Prokopy film “Days of Heaven,” speaks at Ebertfest. (moderator) discuss “The Spectacular Now” in a Q-and-A session following the movie’s screening at Ebertfest.

“Spectacular Now” director James Ponsoldt interviews the “Escape From Tomorrow” cast and crew after the movie’s screening at Ebertfest.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 81

82 16th Annual Roger Ebert’s Film Festival to those who made the 2014 Festival possible

FESTIVAL GUESTS FESTIVAL STAFF VOLUNTEERS PRINT COURTESY

#BSSZ"MMFO &YFDVUJWF1SPEVDFSBOE)PTU 3PHFS&CFSUT'JMN'FTUJWBM LIFE ITSELF CHAZ EBERT 1SJOU$PVSUFTZ "MMPZ0SDIFTUSB UIBOLTBMMPGJUTMPZBMBOE Kartemquin Films IBSEXPSLJOHWPMVOUFFST )BJGBB"M.BOTPVS 'FTUJWBM%JSFDUPS %BO"SPOTPO Nate Kohn 8JUIPVUZPV UIF'FTUJWBM MUSEUM HOURS XPVMEOPUCFQPTTJCMF8F 3BNJO#BISBOJ 1SJOU$PVSUFTZ "TTPDJBUF'FTUJWBM%JSFDUPS BSFEFFQMZHSBUFGVMGPSZPVS The Cinema Guild .JDIBFM#BSLFS Mary Susan Britt EFEJDBUJPO UJNFBOE %BWJE#PSEXFMM DPNNJUNFOU‰OPUPOMZEVSJOH SHORT TERM 12 )FOSZ#VUMFS 5IF.BTUFS 1SJOU$PVSUFTZ UIF'FTUJWBM CVUBMMZFBSSPVOE +FN$PIFO Andrew Stengele Cinedigm %PD&SJDLTPO %JSFDUPS 7JSHJOJB5IFBUSF YOUNG ADULT 4BN'SBHPTP Steven Bentz 1SJOU$PVSUFTZ 5FE)PQF A VERY SPECIAL Paramount Pictures 7BOFTTB)PQF 'SPOUPG)PVTF.BOBHFS  THANKS TO 7JSHJOJB5IFBUSF HE WHO GETS SLAPPED "OO)VJ Mitch Marlow -FBEJOH4QPOTPST 1SJOU$PVSUFTZ 4UFWF+BNFT Champaign County Alliance Warner Bros for the Promotion of -JMZ,FCFS 5FDIOJDBM.BOBHFS  Acceptance, Inclusion 7JSHJOJB5IFBUSF CAPOTE 8BFM,IBJSZ and Respect Andrew Hall 1SJOU$PVSUFTZ #SJF-BSTPO Steak 'n Shake Park Circus LLC ,FWJO#-FF 1SPKFDUJPOJTUT 0GGJDJBMUSBWFMBHFOU 4QJLF-FF James Bond Donna Anderson DO THE RIGHT THING #FOOFUU.JMMFS Travis Bird Suzi Davis Travel 1SJOU$PVSUFTZ Universal Pictures /FMM.JOPX 8FCTJUF .JDIBFM.JSBTPM Leone Advertising WADJDA 0NFS.P[BGGBS 1SJOU$PVSUFTZ 1BUUPO0TXBMU $PPSEJOBUPST Sony Pictures Classics Sophie Kohn .JDIBFM1IJMMJQT Sonia Evans A SIMPLE LIFE &SJD1JFSTPO Keith Pegues 1SJOU$PVSUFTZ 4UFWF1SPLPQZ China Lion Film Distribution .BUU;PMMFS4FJU[ 1SPHSBN4VQFSWJTPS Kristi Bruce Amatucci GOODBYE SOLO ,SJTIOB4IFOPJ 1SJOU$PVSUFTZ ,FJUI4UBOmFME (SBQIJD%FTJHO Roadside Attractions 0MJWFS4UPOF Carlton Bruett ,SJTUJO5IPNQTPO BORN ON THE FOURTH OF JULY $IBJS "DBEFNJD1BOFMT 1SJOU$PVSUFTZ 5JN8BUTPO Dr. Norman Denzin Universal Pictures 4VTBO8MPT[D[ZOB 'FTUJWBM1SPHSBN BAYOU MAHARAJAH The Daily Illini 1SJOU$PVSUFTZ Darshan Patel and staff Lily Keber

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 23-27, 2014t5IF7JSHJOJB5IFBUSF 83 Thanks for making the 2014 Festival possible

FILM CIRCLE SPONSORS $25,000 + DIAMOND SPONSORS $10,000 + Roger & Chaz Ebert Betsy Hendrick Champaign County Alliance for the Promotion of Leone Advertising Acceptance, Inclusion, & Respect L.A. Gourmet Catering Steak ‘n Shake Shatterglass Studios

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

DIAMOND SPONSORS $10,000 + The News-Gazette * Digital Theater Systems ** Geoffrey & Ann Poor/Balanced Audio Technology ***

GOLD SPONSORS $2,500 + Steve & Susan Zumdahl Marsha Woodbury Tawani Foundation Jim Johnson & Coleen Quinn * The News-Gazette has made a one-time donation of $50,000 toward the Illinois Film Offi ce remodeling of the Virginia Theatre’s projection booth. ** DTS has made a one-time donation of $10,200 worth of digital audioequipment for the Virginia Theatre. *** Champaign Rotary Club, Geoffrey and Ann Poor/Balanced Audio Technology, Glenn Poor’s Audio-Video and Phase Technology: a one-time donation of $26,000 worth of equipment for speakers for the Virginia Theatre.

84 16th Annual Roger Ebert’s Film Festival SILVER SPONSORS SILVER SPONSORS MEDIA GIFTS-IN-KIND $1,500 + $1,500 + *MMJOJ3BEJP(SPVQ 5IF%BJMZ*MMJOJ %PVH-PWFT.PWJFT $PXCPZ.POLFZ MIX 94.5 $IBNQBJHO1BSL%JTUSJDU %PO5JOHMF (VJEPhT WIXY 100.3 7JSHJOJB5IFBUSF 4UBO-BOOJOH$PMMFFO2VJHMFZ 4PNB6MUSB-PVOHF 5)&$)*&' /FXT5BML-JUF3PDL -JOEB4NJUI5BCC$IBSMFT5BCC +VQJUFShT1J[[FSJB#JMMJBSET 8:9:$-"44*$ "EBNT0VUEPPS"EWFSUJTJOH .BSTIB$MJOBSE$IBSMJF#PBTU 4FWFO4BJOUT 536&0-%*&4 $IBNQBJHO6SCBOB.BTT5SBOTJU $PCBMU%JHJUBM *OD 'PSUIF-PWFPG)BJS &953" %JTUSJDU .5% +.JDIBFM-JMMJDI 1FUFS8BOEB5SBDZ )*54 5IF(SFBU*NQBTUB -JOEB/FMTPO#BSOFT &MMJPUU$PVOTFMJOH(SPVQ+PIO'PMU[ 8"/%57 /PSUI8FTU .BYJOF+JN,BMFS %BWJE(SBIBN 5IPNQTPO.D$MFMMBO 3PCFTPO'BNJMZ#FOFmU'VOE $IVDL-ZOO/FMTPO 3BMQI+PF (BSDJBT1J[[B "OO#FEEJOJ#BSC)VMTFCFSH +PF#FOOFUU JOB1BO #VMMPDL"TTPDJBUF $PNNVOJUZ$PODJFSHF.BHB[JOF $IVDL&JMFFO,VFOOFUI 4VO4JOHFS8JOF4QJSJUT -5% .BY#FUTZ.JUDIFMM $SFBN'MVUUFS 4IBSPO4IBWJUU &WFOUTBU3FmOFSZ 4UFWFO;JNNFSNBO $BSPM-JWJOHTUPOF%BO(SBZTPO 'BOEPS #SBOE'PSUOFS "OO#FOFm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88 16th 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

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