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The College of Media at presents Roger18thAnnual Ebert’s Film Festival2016 April 13-17, 2016

The Virginia Theatre 203 W. Park, Champaign

Special Support Provided by Champaign County Alliance for the Promotion of Acceptance, Inclusion, & Respect, Steak ‘n Shake and the University of Illinois at Urbana-Champaign

Ebert2016Cover.indd 1 3/21/16 1:31 AM This year’s festival is dedicated to the memory of Film Screenings Academic Panel Discussions Tuesday, April 12 Illini Union | Pine Lounge, First Floor 7 p.m. Everybody Wants Some!! 1401 W. Green Street, Urbana, IL at Foellinger Auditorium Free and open to the public University of Illinois campus 1922-2015 Free and open to the public Thursday, April 14, 2016 Friday, April 15, 2016 9 a.m.–10 a.m. 9 a.m.–10 a.m. Wednesday, April 13 Challenging Stigma Through #oscarssowhite: 7 p.m. Love, Mercy and the Arts Diversity in Hollywood Moderated by Moderated by Thursday,The April College 14 of Media at IllinoisEric Pierson presents 10:15 a.m.–11:15 a.m. 1 p.m. Grandma 10:15 a.m.–11:15 a.m. Creating Empathy on the Women in Film 4 p.m. Moderated by 18thAnnualBig Screen 8:30 p.m. Chaz Ebert Moderated by Nate Kohn Friday,Roger April 15 Ebert’s 1 p.m. Disturbing the Peace 4 p.m. L’inhumaine Live On-Air Interview Wednesday, April 13, 2016 9 p.m. Eve’s Bayou Film Festival9 a.m.–10 a.m. 2016 Jim Turpin (WDWS-AM 1400) Saturday,April April 13-17, 16 2016Ebertfest Interview 11 a.m. Force of Destiny 2 p.m. Radical Grace 4:30 p.m. Love & Mercy “Haskell was a man . . . who fought always for 9 p.m. what was right and was thus indispensable. Sunday, April 17 His loss feels harder when you realize Noon Body and Soul how many real-world issues he tackled

through his art and generosity.” All films will be shown at the historic Virginia Theatre, 203 W. Park, Champaign, IL. Festival guests will appear on stage after each film to join the audience in discussions about the – films. Festival passes ($150). Individual tickets ($15) and student & senior citizen tickets ($13) on sale at the Virginia Theatre box office, 217-356-9063.

For more information contact: Casey Ludwig [email protected] | 217-300-1375 College of Media

The Virginia Theatre 203 W. Park, Champaign

Special Support Provided by Champaign County Alliance for the Promotion of Acceptance, Inclusion, & Respect, Steak ‘n Shake and the University of Illinois at Urbana-Champaign

Ebert2016Cover.indd 1 3/21/16 1:31 AM Table of Contents Welcome from Chaz Ebert ...... 4-6 Movie Reviews Welcome from the University of Illinois ...... 9 Wednesday, april 13, 2016 Crimson Peak (7 p m. )...... 40 Welcome from the festival director ...... 11 Thursday, april 14, 2016 receives second dedication . . 12 Grandma (1 p m. )...... 42 Northfork (4 p m. )...... 46 Important information about the Festival . . . . . 15 The Third Man (8:30 p m. )...... 50

Ebert continues to assist UI students . . . . . 18 Friday, april 15, 2016 Disturbing the Peace (1 p m. )...... 54 Dining tips ...... 21 L’inhumaine (4 p m. )...... 56 with The Alloy Orchestra New associate director tackles . . . . 23 Eve’s Bayou (9 p m. )...... 60

Festival guests ...... 25-37 saTurday, april 16, 2016 Force of Destiny (11 a m. )...... 62 Pre-Festival screening: Everybody Wants Some!! . . . 39 Radical Grace (2 p m. )...... 66

A look back at last year’s festival ...... 79-81 Love & Mercy (4:30 p m. )...... 70 Blow Out (9 p m. )...... 72

Special thanks ...... 83 sunday, april 17, 2016 Festival sponsors ...... 84-85 Body and Soul (Noon) ...... 74 with Renee Baker and the Parking information and area map ...... 87 Modern Orchestra Project

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

We are honored to Daily Illini Illio Technograph Buzz WPGU-FM Independent Univerity of Quarterly Online Student-run call one student news Illinois engineering entertainment Commercial of our own. organization Yearbook magazine magazine radio station

Roger Ebert, The Daily Illini editor-in-chief, 1963-64. illinimedia.org 2 18th Annual Roger Ebert’s Film Festival Chaz Ebert co-founder, producer and host Welcome to Ebertfest! ith Chris Rock’s Oscar and frame by frame, it looks like Wmonologue about diversity a portfolio of spaces so wide, so still fresh in our minds, the 18th open, that men must wonder if annual Ebertfest is geared toward they have a role beneath such championing diversity in all its indifferent skies,” wrote Roger. forms. Both Roger and I believed The film’s director, Michael Polish that one of cinema’s chief will join us. purposes is to enable audiences Beach Boys fans will be to view the world through the especially pleased with our next eyes of another, enabling us to selection, “Love & Mercy,” a empathize with the perspectives widely acclaimed biopic on the of different people both challenged life of the band’s domestically and from around iconic leader, , played the globe. We will be celebrating at different ages by female directors and actors, and . This film is being technicians, older filmmakers, sponsored by the Champaign filmmakers documenting peace County Alliance for the Promotion in the Middle East, and African- of Acceptance, Inclusion and American directors, as well as Respect. directors from and the Chaz Ebert, co-founder, producer and host of Ebertfest I am pleased to welcome three Netherlands by way of Australia. extraordinary female directors Our panels will tackle topics of for his 2006 masterwork, “Pan’s Angela Allen will accompany a as first-time guests at Ebertfest. inclusiveness and how that adds Labyrinth,” a film Roger so loved screening of ’s 1949 will be on hand to a civility that we aren’t finding that he inducted it into his Great masterpiece, “The Third Man,” to discuss her 1997 debut, “Eve’s in some of our presidential Movies series a mere year after a film Roger ranked alongside Bayou,” which Roger declared as debates this year. And for the its release. I wish Roger had been the greatest films of all time. “It “one of the very best films of the very first time we will introduce able to see del Toro’s latest visual told a story of existential loss year” and “a film of astonishing the inaugural Ebert Humanitarian marvel, “Crimson Peak,” the and betrayal,” wrote Roger. “It maturity and confidence.” “She Award. gothic horror fantasy that will was weary and knowing, and sets her story in I hope you are as delighted open Ebertfest 2016. its glorious style was an act of country, in the bayous and as I am to be welcomed by the We will have a special premiere defiance against the corrupt world old Louisiana traditions that handsome sculpture of Roger of “Disturbing The Peace,” a film it pictured.” This screening is might have outside of the Virginia Theatre. about Israelis and made possible by a grant from been familiar with, but in tone When it was sculpted by buck the powers that be The Hollywood Foreign Press and style she earns comparison artist Rick Harney at the request in order to strive for peace. Association. with the family dramas of Ingmar of Donna and Scott Anderson, I Once enemy combatants, Another famous Allen Bergman,” wrote Roger. had no way of knowing it would they go through a miraculous attending our festival — Joining her are two women, become one of the most popular transformation to form a coalition unrelated to Angela — is one of whom helmed her first installations in Champaign- called the Combatants for Peace. actress , who was so feature last year, and the film is Urbana. Each week we see photos The film’s directors, Steve Apkon unforgettable as the scheming a remarkable achievement. Windy posted on social media of people and Andrew Young will be here. bully in ’s “Carrie.” City documentarians Rebecca who joyously sit next to Roger Joining them will be the Story She’ll be joining us to discuss Parrish and Nicole Bernard-Reis and give the Thumbs-Up! I am Consultant Marcina Hale and another De Palma classic, 1981’s will be here with “Radical Grace,” especially gladdened by the some of the Combatants for Peace “Blow Out,” which Roger hailed their crowd-pleasing profile of on the 18th Annual Roger Ebert Film Festival photos of children who seem to (Chen Alon and Sulaiman Khatib) as the director’s “best and most the Nuns on the Bus, who became take extra delight in sitting next who will be visiting from . original work.” engaged in social activism despite — President Tim Killeen and Dr. Roberta Johnson Killeen to him. This film, illustrating a powerful A film that will be especially protests from the Vatican. They Once again, we are striving to aspect of empathy, will receive glorious to experience on the big won the Chicago Award at last shine a light on films that deserve the first Ebert Humanitarian screen is 2003’s “Northfork,” a year’s Chicago International Film to be rediscovered, including Award. film Roger compared to Terrence Festival. Parrish and Bernard-Reis underrated gems from last year. We will also be screening Malick’s “” and will be joined on stage by Father We’re thrilled to welcome Mexican several of Roger’s favorite films, Wim Wenders’ “Wings of Desire.” Mike Pfleger, the activist priest director Guillermo del Toro, the all of which he awarded four “The movie is visionary and visionary best known stars. Legendary script supervisor elegiac, more a fable than a story, continued on page 6

4 18th 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 Fan Page April 13-17, 2016 • The Virginia Theatre 5 Welcome to Ebertfest continued from page 4 from the South Side of Chicago festival year after year. Some who stands up for justice even Thank you for honoring Roger’s memory sponsors have been with us all when he has to speak truth to 18 years; some are with us for BUD MAN OF ALCATRAZ power. He was portrayed by John and for keeping his legacy alive. the first time this year. We say PIZZA'S HONOR Cusack in ’s recent film, a special thanks to some of our TRIPTYCH RIVER “Chi-Raq.” leading sponsors: The Champaign The iconic will County Alliance for the Promotion headline “Grandma,” a film here to present “Force of Destiny,” goal of $5 million to qualify as a of Acceptance, Inclusion and about a 70-year-old worldly because it will serve as the film’s Center, and I will call on you to Respect; Steak ‘n Shake; the Stop in for a grandmother who is on a mission American premiere. Joining him help make it a reality. University of Illinois at Urbana- bite or a bev before to help her granddaughter with will be the object of his love, Professor Nate Kohn from the Champaign; the Hollywood or after the films! an unwanted pregnancy. The Rosie Raka. University of Georgia’s Grady Foreign Press Association; SAG- film’s director, (“About In addition to the films, we College has been the festival Indie; The News-Gazette; and the 106. N. Walnut A Boy,” “American Pie”), and its will present stimulating academic director since day one and we are Ebert Foundation. Downtown Champaign producer, Andrew Miano, will panels with Gil Robertson, the fortunate to have him continue Volunteers serve in many ways, (Corner of Walnut & University) join us. head of the African American in that role. Nate is an Urbana including serving as drivers and This year’s installment of Film Critics Association, and native and Illinois alum, so guides for festival guests. They 217/398-5858 | Menu at esquirelounge.com Ebertfest marks the first time in Shawn Edwards, its cofounder. Ebertfest is close to his heart. also help to plan the festival our history that two silent films You will also be welcomed into Please welcome Casey Ludwig, logistics and serve as ticket takers are included in our scheduled a community of movie review who is taking Mary Susan Britt’s and ushers at the Virginia. We programming. The wonderful writers populated by numerous place as the assistant director. thank them for their loyalty and Alloy Orchestra (Terry Donahue, special guests that include film This will be Casey’s first Ebertfest, continuing support. Ken Winokur and Roger Miller) critics , Michael so please stop to say hello. She Thank you to Leone will deliver its 16th performance Phillips, Nell Minow, Matt Zoller- has been working hard to make it Advertising, who is our invaluable at our festival, providing a Seitz, Sheila O’Malley, Brian as flawless as possible. Webmaster at ebertfest.com; live accompaniment to Marcel Tallerico, Susan Wloszczyna, Steven Bentz and his cheerful Carlton Bruett, who is responsible L’Herbier’s staggering 1924 Matt Fagerholm, Nick Allen, Mark staff at the Virginia Theatre for the posters and the look of landmark, “L’inhumaine” (“The Dujsik, Angelica Jade Bastién, and put out the welcome mat. the festival; and The Daily Illini, Inhuman Woman”). French film Chuck Koplinski. The which produces this splendid historian Richard Neupert will As always, this program goes and the Champaign Police program. And once again I want be on hand to discuss the film to press before a few things are Department are always helpful. to call attention to our Ebertfest with the Alloy Orchestra. This finalized, so expect some surprise Betsy Hendrick throws her now- iPad App from Shatterglass screening is sponsored by Steak guests and films and please legendary Saturday night party. Studios. The app contains every ‘n Shake. understand that there may be Where would we be without our festival interview, photograph, Renee Baker and The Chicago some changes over which we have fabled projectionist James Bond, review, panel discussion, link and Modern Orchestra Project will no control. who maintains the highest of artifact that we could find from be making their Ebertfest debut I am grateful to Roger’s alma standards whether projecting the first fifteen Ebertfests. It is when they perform their new mater, the College of Media at the 70 mm, 35 mm, 3-D or digital available on iTunes. Our thanks jazz score for 1925’s “Body and University of Illinois at Urbana- prints. We are so grateful for their to Shatterglass for doing this and Soul,” directed by the trailblazing Champaign, for making it possible continued help. for the spectacular festival videos black filmmaker Oscar Micheaux. to gather once again and welcome We thank our friend Bertha they do for us every year. Look “Body and Soul” marked the film the 1500 guests to the Virginia Mitchell, who serves her famous for Luke Boyce and Brett Hays, debut of legendary actor Paul Theatre. I say a special thanks downstate barbecue from the the Shatterglass guys, around the Robeson, who plays a double role to University of Illinois President tent in front of the theater. She festival. of the villain and the preacher. In Timothy L. Killeen and to Dean comes back year after year, all And finally, I want to thank another first, the entire 13-piece Jan Slater of the College of Media while trying to support her gifted the festival-goers who keep orchestra of the Chicago Modern for their generous support. hockey playing son Marcus in coming back year after year. Orchestra Project will perform in I announced the start of the Canada and the U.S. Mrs. Mitchell Thank you for uncovering cinema the orchestra pit of the Virginia Roger Ebert Center to be located and other vendors make it gems with us, and thank you Theatre. That will take some within the College of Media. convenient for our festival-goers also to those who are joining us doing as the pit was built to hold It will maintain Roger’s legacy to grab a bite to eat in between for the first time. Thank you for about ten musicians. of passing forward the values movies. Thanks also goes to the honoring Roger’s memory and for And last but not least, we of empathy and compassion Illini Union, which plays host for keeping his legacy alive. In the will welcome back director Paul through cinema and to encourage most of our guests in the heart of tradition of Roger, I encourage Cox with his new romantic film, and support emerging writers, the campus. you to please greet your fellow “Force of Destiny,” which tackles technologists and filmmakers Our sponsors are crucial. They festival-goers. As Roger used to some of the issues he confronted at Ebertfest and other events help make the festival possible. paraphrase a well-known movie with his liver transplant. I’m throughout the year. We are Without their financial support title, they’re no longer strangers especially excited that Cox will be about halfway to our financial we could not undertake the when they meet.

6 18th 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 13-17, 2016 • The Virginia Theatre 7 barbara wilson University of Illinois INTERIM chancellor Join the debate: Buy a ticket, find your seat What goes around. Comes around. elcome to Ebertfest! I know standing Movies — done right — have the W in line is usually not considered an enjoyable pastime. But I think waiting power to bring people together, in line to get into the Virginia geographically and emotionally. Theatre for the next movie or panel here at the festival might just be the exception. There is a real excitement that comes from people together, geographically we just saw or heard. the anticipation and from being and emotionally. Yet even though Roger also helped us surrounded by several hundred a film may bring us closer as we understand that these others who are right there with watch it together, every single conversations are open to you in the moment. one of us experiences that same everyone. Whether you’re a As Roger Ebert taught us all, film very differently. Part of the Pulitzer Prize-winning critic or movies aren’t just a different magic of film is what happens a ten-year-old child, the only Barbara Wilson way to tell powerful stories and after the credits run: the lights requirement to join the debate is Interim Chancellor, University of Illinois at Urbana-Champaign entertain us. Movies — done come up and we start talking with to buy a ticket and find your seat. right — have the power to bring one another about what we think Enjoy the festival!

Jan Slater Dean of the College of Media Let the lights dim and the reels spin, enjoy

he College of Media is proud to welcome you to the 18th annual We owe it all to Roger with his vision Ebertfest!T of a festival that celebrates the best Each year, we look forward Investing in the future isn’t about what you get to keep. to this week with great in film and his understanding of It’s about what you choose to give away. anticipation. As the films and special guests are announced, how those films affect us all. that anticipation grows. When the week arrives, we cannot wait to see old friends and make a in combination with the many event of this size are staggering. few new ones. And when the sponsors, volunteers and It all seems to happen lights dim and the reels spin, we attendees, make this a one- effortlessly, but we know better. are transported to another place of-a-kind event. Thank you all This is Casey’s first festival. She and time through the magic of for making it possible. Your has done a marvelous job and we storytelling. dedication is humbling. look forward to hearing her ideas Jan Slater We owe it all to Roger with Thank you to Chaz Ebert for making it even better in the Dean, College of Media, University of his vision of a festival that for continuing to entrust the future. Illinois at Urbana-Champaign EQUAL HOUSING LENDER | MEMBER FDIC celebrates the best in film and College with Ebertfest. Roger The College of Media is in the his understanding of how those meant a great deal to us, to the education business. And while films affect us all. What an University and to the community. our efforts are usually focused on you to the best show in town. inspirational legacy. This festival is one way for us to college students, we hope this We appreciate your support and It takes a full year and a great honor his work. event will teach us all something revel in your enthusiasm for HICKORYPOINTBANK.COM CHAMPAIGN DECATUR PEORIA SPRINGFIELD deal of support to produce this Thank you to Casey Ludwig and about film and its power to what the next few days bring to festival. The College of Media, Dr. Nate Kohn, who organize and affect the human condition. Champaign-Urbana. the University of Illinois and direct this festival. The logistics The College of Media at the Welcome to Ebertfest. Enjoy the Champaign Park District, and coordination required for an University of Illinois welcomes the show!

8 18th 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 13-17, 2016 • The Virginia Theatre 9 Nate Kohn Festival director Thank you all who contributed to Ebertfest

elcome to the 18th annual people strange to us, films that our showing of “Love & Mercy,” to blossom each year in the WRoger Ebert’s Film Festival, engender empathy for others. All is organizing a morning panel spring. a special event of the University these films accomplish what Roger discussion at the Illini Union. We would also like to thank of Illinois’ College of Media in looked for in a great festival film. Please plan to attend this free Paramount Classics, NBC Universal partnership with the greater We hope you will agree. event. We thank the Alliance Pictures, Swank Motion Pictures, Champaign-Urbana community and Other filmmaker guests at this for realizing the power of film to Park Circus, Inc., Rialto Pictures, lovers of movies everywhere. year’s festival include star Nancy change minds and attitudes, for Flicker Alley, ChubbCo Film Co., In selecting the films for this Allen from “Blow Out” and script supporting our festival, and for all Illumination Films, Kindling Group year, Chaz Ebert and I decided to supervisor Angela Allen from the good they do year after year in and Interchange Productions, take another look at films that “The Third Man.” Plus there will Champaign County. Dirigent Media and Pictures Roger loved. We found four films probably be a couple of surprise And of course, Roger’s favorite Classics for graciously providing from his vast reservoir that in guests. restaurant, Steak ‘n Shake, is back us with their very best 35mm and some way benefit from a second digital prints. look on our part, given the social, Finally, please welcome our new cultural and political issues that This festival is Roger Ebert’s gift to Assistant Director Casey Ludwig dominate contemporary discourse. when you see her. She has hit Films are living things and take his hometown, and for that we the ground running and we’re very on new meanings each time we pleased to have her on board. view them. So when you watch thank him and his wife, Chaz. Our thanks go out to her and to these four films — “Northfork,” Dean Jan Slater, President Timothy “Eve’s Bayou,” “The Third Man” Killeen and Dr. Roberta Johnson and “Blow Out” — note how James Bond will be back with us with us once again. Their famous Killeen, and Interim Chancellor they take on new life and in their in the projection booth and we are slogan, which Roger never tired of Barbara Wilson, without whose humanity inform our present-day pleased to add Gil Robertson and reciting in his booming voice, “In hard work and enthusiastic support lived experiences. Each in its own Shawn Edwards to our array of film sight it must be right,” might also this festival would not be possible. way comments on how we view the critics and commentators. Both apply to the films that screen at We especially want to thank the world and perhaps gives us fresh will participate in a morning panel Roger’s festival. University of Illinois for their loyal insights on how to confront the on diversity in the entertainment We also thank our other support. troubles of our day. industry at the Illini Union. sponsors, volunteers, festival This festival is Roger Ebert’s This year we are showing One of our most dedicated pass holders and individual gift to his hometown, and for that two silent films, both with live sponsors, the Champaign County ticket holders for their welcome we thank him and his wife, Chaz. orchestra accompaniment. The Alliance for the Promotion participation in this endeavor. We They continue to be a remarkable Chaz, Alloy Orchestra is presenting their of Acceptance, Inclusion and look forward to your unwavering team, and it is an honor to work new score for the French film Respect, in addition to sponsoring support as our festival continues with them. “L’inhumaine,” and the Chicago Modern Orchestra Project brings us Thank you for everything you do to “Body and Soul,” a film that marks ’s debut as an actor. keep Roger’s spirit, and Ebertfest, To complement these two classic films, we have selected ’s alive for all of us. I miss Roger so latest film “Force of Destiny,” Bill Pohlad’s “Love & Mercy,” Guillermo much but am so grateful for you. del Toro’s “Crimson Peak,” Kasi Lemmons’ “Eve’s Bayou,” Paul Weitz’s “Grandma,” Stephen Apkon and Andrew Young’s “Disturbing Thank you. Betsy the Peace” and Rebecca Parrish’s documentary “Radical Grace.” Most of these directors will be with us as our very special guests. These films combine to fulfill Roger’s vision for the festival and are the kinds of films he wanted to showcase and champion — films that address the human condition, that allow us to explore places and Nate Kohn, festival director

10 18th 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 13-17, 2016 • The Virginia Theatre 11 Cinematographer receives second dedication By Mariah Schaefer, The Daily Illini

hen Chaz Ebert Wintroduced Haskell Wexler as a special guest at the 2013 Ebertfest and said he was going to receive a Golden Thumb, Wexler smiled and bounced onto the stage at the Virginia Theatre. “Now you have a Thumb Haskell Wexler stands with actress (center) and his wife, 1978’s “Days of Heaven” brought Wexler to Ebertfest in 2013 when it was shown. and an Academy Award,” Chaz Rita Taggart (left). Ebert said as Wexler thanked her. Wexler, a cinematographer with more than 80 credits to his name on IMDb, was the recipient of the Roger Ebert’s Film Festival dedication in 2013. This year, the festival is once again dedicated to Wexler, who passed away last year at age 93. “,” which features Wexler’s Because Wexler, a Chicago Wexler speaks to the audience at the In the Pine Lounge at the Illini Union, Wexler speaks at an academic cinematography, was shown at Ebertfest in 2003. 2013 Ebertfest. panel at Ebertfest. Wexler also wrote and directed the film. native, was “such a friend of the festival and such Festival Director Nate Kohn gives cinematographer Haskell Wexler a Golden Thumb at the 2013 Festival while Chaz Ebert looks on. a supporter of excellence in cinema,” the festival 2870 S. Philo rd. Urbana, IL coordinators decided to had the ability to hold this Haskell’s work, often noting Democratic Convention in 217-344-8946 dedicate Ebertfest to him again small camera extremely steady (like in his 4-star review of Chicago. The film was released Milo’s this year, said Nate Kohn, as he moved and walked, ‘Bound for Glory’) about how in August 1969, and Kohn Restaurant WWW.MILOSURBANA.COM festival director. and you could tell that he he expected such images to said Roger Ebert loved it. What stood out to Kohn at knew what he was doing as a last with him a lifetime.” “Medium Cool” was shown at the 2013 Ebertfest was how cinematographer.” Wexler attended Ebertfest in Ebertfest in 2003, a decade Wexler was a perfect guest Kohn said the Eberts had 2013 for the showing of 1978’s prior to when the festival was because he was very present known Wexler for years “Days of Heaven,” for which dedicated to Wexler. at the festival and stayed for and years, and Roger Ebert he shot more than half of the Wexler was born on Feb. Warm ambiance the entirety of Ebertfest, along suggested dedicating the cinematography. 6, 1922, in Chicago and died and delicious with his wife, Rita Taggart. festival to Wexler in 2013 Throughout his career, on Dec. 27, 2015, in Santa Nuevo Latino Cuisine “When he was at the because he admired him, the Wexler was nominated Monica, . He began festival, he always walked body of his work and his social five times for an Academy his cinematography career in 6 E. Columbia Ave. Champaign, IL around with a small digital activism. Award and won two Best the 1950s. Throughout his Escobar’s217-352-7467 warm camera, and he just took After Wexler’s death, Chaz Cinematography Oscars, one career, he shot both feature ambiance and delicious pictures of everything and of Ebert said on RogerEbert.com, for “Who’s Afraid of Virginia films and documentaries. everybody,” Kohn said. “He “Roger always wrote highly of Woolf?” in 1967 and one for Wexler also served as director, HOURS:Nuevo Latino Cuisine “Bound for Glory” in 1977. producer, writer and actor in Dinner:make it a perfect place for When accepting his Oscar many projects. Hours: Tu-Thurbrunch, and Sun: lunch, 5 - 9 pm or dinner. for “Who’s Afraid of Virginia “Haskell Wexler just Dinner: Brunch: Fri and Sat: 5 - 10 pm “Roger always wrote highly of Haskell’s work, Woolf?” Wexler ran up to the exemplified all that Roger Monday-Saturday 5pm- Sunday 11am-3pm 6 East Columbia Ave. Champaign stage and said, “I hope we can loved about cinema,” Kohn 9pm www.escobarsrestaurant.com often noting about how he expected such Sunday 4pm-8pm Lunch:217-352-7467 use our art for peace and for said. “He was a passionate Breakfast: Friday-Sunday 8am-11am Tu-Fri: 11 am - 2 pm images to last with him a lifetime.” love. Thanks.” artist who was respected by Lunch: In 1968, Wexler wrote, everyone in the industry.” Monday-Friday 11am-2pm Brunch: Chaz Ebert filmed and directed the film Saturday 11am-3pm Sun: 11 am - 2 pm “Medium Cool” during the [email protected]

12 18th 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 13-17, 2016 • The Virginia Theatre 13 Festival Info Things to know about Ebertfest TICKET INFORMATION THEATRE GUIDELINES floor. Up to 18 wheelchairs FESTIVAL can be accommodated with • A Festival pass to all 12 • Patrons may enter the theatre one companion seat available MERCHANDISE screenings is $150. ONE HOUR prior to the FIRST per wheelchair. Tickets for During the festival, you’ll find • Individual tickets are $15. screening of the day, with the accessible and companion great merchandise in the east Student and senior citizen VIP/Festival passholders doors seating may be purchased at lobby of the Virginia Theatre. tickets are $13. opened first, and then individual www.thevirginia.org, by calling • Festival passes and tickets ticket holders shortly thereafter. 217-356-9063, or by visiting SOLD OUT FILMS are available at The Virginia • Seating for each film will begin the theatre’s box office at 203 Theatre, 217-356-9063 or approximately 30 minutes before W. Park Avenue, Champaign, If you want to see a film that www.thevirginia.org. each screening time. Seating is IL 61820. Please note that is sold out, go to the Virginia • All the films are screened at the general admission only. NOTE: the Virginia’s mezzanine and Theatre box office 30 minutes historic Virginia Theatre, 203 W. Some seats will be reserved for upper balcony seating are still before the screening time and Park Ave., Champaign, IL. special guests of the Festival. accessible only via stairs. wait in the rush ticket line. Please respect the designated • The theatre also features a Shortly before the film begins, PANEL DISCUSSIONS areas. wheelchair lift for guests any empty seats will be sold on • Only Festival passholders are accessing the stage from the a first-come, first-served basis. Panel discussions will be held at allowed in the theatre between auditorium, a LULA (Limited NOTE: At every festival since 2002, the Illini Union, 1401 W. Green screenings. Please wear and Use Limited Access) elevator all patrons waiting in line for St., Urbana, IL, in the Pine have your pass visible at all allowing access from the stage tickets for sold-out films were able Lounge on the 1st floor. times! Festival staff will be to the downstairs dressing to get in. • Thursday, April 14, 2016 checking for them. rooms, and an elevator allowing • Friday, April 15, 2016 • A Festival pass guarantees access to the building’s upstairs TICKET POLICY seating to all 12 screenings. lobby and restrooms. Shortly before each film begins, • The Virginia Theatre offers The number of Festival passes DIRECTIONS any empty seats will be sold to complimentary assisted sold is limited to 1,000. An How to get to the Illini Union individual ticket holders waiting listening devices, available additional 500 seats are reserved from the Virginia Theatre in line. Latecomers cannot be upon request. Devices come for individual ticket holders and • Turn RIGHT (south) onto N. Neil guaranteed admittance. NOTE: with an ear bud, ear speaker sponsors. We want to make sure Street Passholders — please arrive 15 or neck loop and can be used that everyone who wants to • Turn LEFT onto W. Green Street minutes before each screening. to enhance the enjoyment of attend the Festival — be it for • The Illini Union will be on the • Passes and tickets cannot be movies, spoken word events one film or all of them — can be RIGHT. exchanged, and no refunds can and live performances. Visit accommodated. be issued. the Virginia Theatre Box Office • Smoking is prohibited in the before showtime to pick up NO RECORDING, FESTIVAL UPDATES Virginia Theatre. an assisted listening device. Updated schedules and information • The newly restored Virginia A driver’s license, credit card PLEASE will be posted on the festival’s Theatre has updated all of its or other valid form of ID is Copyright law strictly prohibits the website: www.ebertfest.com. restrooms to be ADA-compliant required. use of any type of unauthorized and now includes transfer • NO OUTSIDE FOOD OR DRINk video or sound recording seating on both levels plus allowed inside the Virginia equipment. wheelchair-accessible seating Theatre at any time. on the auditorium’s main

14 18th 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 13-17, 2016 • The Virginia Theatre 15 All Q&A sessions and panel discussions will be streamed live on the Internet at Sign a lease for a www.ebertfest.com 4 Bedroom Apartment and receive $100 OFF your monthly rent and FREE High Speed Internet! Receive a $1000 sign on bonus at select 3 bedroom locations!

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16 18th 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 13-17, 2016 • The Virginia Theatre 17 industry. Historically, the Ebert continues to assist University students University has developed many items for the film industry, so the center is trying to collect through fellowships, center offering programming data on that to showcase its history in the industry. By Megan Jones, The Daily Illini “The center itself is about exposing. It is open to the community. We want it to oger Ebert was much more areas related to writing: Pulia be open to people in the Rthan a critic — he was a in news-editorial journalism, Because Roger was known for being a Champaign-Urbana area, but lover of film and a champion of Lenzer-White in broadcast also in Chicago. We want it to movies. With a newly founded journalism and Valentine in mentor to young critics, the Ebert fellowship have student opportunities and Ebert fellowship program at the English literature, text and to connect the industry with University of Illinois, students culture. program takes a professional mentor and the campus because Roger was Shalayne Pulia Ashish Valentine Riane Lenzer-White are trying to follow his footsteps. The fellowship program very much a supporter of the Because Roger was known for will continue each year with matches them with three fellows as storytelling behind film,” Slater being a mentor to young critics, a new induction of fellows at said. his name really epitomizes the the Ebert fellowship program each year’s Ebertfest. When Ebert Fellows in Media Criticism. The center is halfway to its things he believed in and the takes a professional mentor the center was announced, the goal to raise $5 million, and things he always wanted us “The center itself is about exposing. It is and matches them with three College of Media began creating donors can give funds online to know about film. We really open to the community. We want it to be students as Ebert Fellows in ideas on what programming to now at https://media.illinois. want to make sure that we are Media Criticism. offer. It realized that criticism the fellows’ work. Phillips knew objective has really brought out edu/giving/give-now. doing the kinds of programming open to people in the Champaign-Urbana Chaz and Roger Ebert is a difficult area for people to Roger Ebert very well and comes my more artistic side.” “It’s certainly a great that would be in his philosophy. established the Roger Ebert teach because it requires some to Champaign frequently to Slater said each year a new opportunity for this community, It’s focusing much broader than area, but also in Chicago.” Center in 2009 and initiated experience and someone fluent spend one-on-one time with the mentor will come to teach which was so important to just criticism.” its first class of Ebert fellows in it, College of Media Dean Jan students, Slater said. the fellows, but Phillips is Roger,” Slater said. “To have Jan Slater, dean of the College of Media in 2015: Shalayne Pulia, Riane Slater said. “I am proud of how my continuing this year due to his (the Roger Ebert Center) in [email protected] Lenzer-White and Ashish chief film work has grown through this close proximity to the campus. Valentine. critic Michael Phillips helps fellowship and the confidence Fellows do not have to be All three are seniors studying mentor and provides feedback for I have gained in entertainment enrolled in the College of writing. I have learned that there Media, but they must attend is absolutely no reason to shy the University. They receive a away from a big opportunity like $3,000 stipend. interviewing an Emmy-nominated Beyond fellowships, Ebert’s director or endowment will also provide tracking down a senior editor at programming through the Pitchfork Review,” Pulia said. “I Ebert Center. The College of may be a student, but I have a Media has worked with Chaz voice. My questions and critical and a faculty committee to analysis of these cultural events develop ways that students are no less important than those can learn beyond a classroom of seasoned professionals.” setting by creating bodies of Fellows have covered various work and receiving first-hand events in the film industry, experience, Slater said. In the such as attending the True/ future, the center will offer False Film Festival in Missouri, special classes to complement covering the “Star Wars: The the College’s Media and Cinema Force Awakens” release for Studies degree program and WBEZ through a podcast and invite special scholars to come writing various reviews, which to campus and give panels. The have been published in The Ebert Center will also undertake Daily Illini. hosting the Roger Ebert’s Film “I think my favorite part is Festival. being able to write creatively,” Slater said one of the Lenzer-White said. “In center’s goals is to bring the The 2015 Ebert fellows Shalayne Pulia, Ashish Valentine and Riane Lenzer-White journalism, everything is so film industry and the students at the True/False Documentary Film festival in Columbia, Missouri. The festival fact-based, so not having to be together to help develop the was held in March.

18 18th 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 13-17, 2016 • The Virginia Theatre 19 Three floors booked solid. Locally owned for more than 27 years Festival Restaurant Sponsors Used • Rare • Out of Print • Special orders and searches Dining tips

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20 18th 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 13-17, 2016 • The Virginia Theatre 21 New assistant festival director tackles first Ebertfest, joins community effort

By Claire Hettinger, The Daily Illini

asey Ludwig is The assistant festival Cexperiencing Ebertfest and director’s job begins in the its culture for the first time as summer, when they start the the assistant festival director search for festival sponsors for the 2016 Roger Ebert’s Film and begin to plan the next Festival. year’s Ebertfest. They handle “The energy that I’ve all newspaper advertisements, witnessed leading up to the media connections and pass festival is unmatched by sales in the fall. anything I’ve experienced Once January hits, work before,” she said in an email. begins on planning the “I can’t wait to be a part of it film schedule and putting at the festival.” information together for The College of Media is proud to host the The exciting festival, which festivalgoers. is in its 18th year, begins to The community involved 18th Annual Roger Ebert’s Film Festival. come together months before with the festival has been the first film lights up the supportive and patient with screen. her as she has planned and The College continues the work we started The job involves all aspects finalized her first festival, of the film festival, but it isn’t she said. Her ultimate goal — in 1927 providing outstanding media education just Ludwig, she said. It takes simply create an event that numerous people to plan such people will enjoy. and student experiences as we prepare the next a large event and she enjoys “Everyone from Chaz and generation of media professionals and scholars. working with them. Nate to the sponsors and “It takes a lot of people to vendors, to the individuals make this festival happen,” purchasing passes are amazing, she said. “But being an kind, and have been so patient integral part of the team has and thoughtful with me during Casey Ludwig, assistant festival director been very exciting.” my first year,” she said. Her first festival is here and Mary Susan Britt was the Ludwig said the process has associate director of Ebertfest opportunity to work with “The festival is really well kept her active in the months for the 14 previous festivals Roger Ebert has been the organized,” she said. “Mary College of preceding it. but handed the torch on to experience of a lifetime. Susan Britt did a wonderful “It has been a great learning Ludwig this year after moving But just how wonderful this job running the festival for experience for me and I’ve been home to the South where she community is, and how the the last 14 years and I did not incredibly busy making sure all grew up. community really does get see a need to do any major the pieces fit together in the Britt previously told The behind the festival … they changes to the program.” end for a successful event.” Daily Illini, “Having had the believe in what we’re doing The festival culture and the and what Roger started in people who create it excite and 1999.” awe Ludwig. Charles H. Sandage Department of Advertising “It takes a lot of people to make this festival There won’t any big changes “I’m learning so much and Department of Journalism this year, Ludwig said, am completely immersed in the happen. But being an integral part of the Ebertfest is always well-run ins and outs of planning this Department of Media and Cinema Studies and successful and she did great film festival,” she said. team has been very exciting.” not see anything major that “I’m grateful to be a part of needed to change after Britt’s something so wonderful.” Casey Ludwig, assistant festival director capable leadership and years University of Illinois at Urbana-Champaign | media.illinois.edu of service. [email protected]

22 18th 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 13-17, 2016 • The Virginia Theatre 23 Guests A warm welcome to our Special Festival Guests

he following are invited Powell was recently seen as Chad Crimson Peak which he also co-wrote with special guests for the Radwell on FOX’s Ryan Murphy hit Matthew Robbins for Legendary T Wednesday, April 13, 7 p.m. Festival. As always, their new show Scream Queens opposite and . The film, East Main St. Champaign, IL . He recently which was released in October attendance is contingent wrapped production on the Iraq GUILLERMO DEL TORO (director) 2015, stars , Tom on factors over which we War drama Sand Castle, in which is among the most creative and Hiddleston, and Also at 1510 S. Neil St. Champaign, IL have little control, such as he plays Sgt. Falvy, a tough- visionary artists of his genera- . unforeseen changes in their minded and foul-mouthed soldier tion and whose distinctive style Del Toro was executive pro- is showcased through his work work schedule. But we hope from the South. ducer for the worldwide hor- In 2016, Powell will be starring as a filmmaker, screenwriter, ror hit Mama, starring Jessica that most, if not all, will be in three major films, including producer and author. Born in Chastain. Among his other film Get Stacked up! with us — plus additional the comedy Ride Along 2, portray- Guadalajara, del Toro first gained credits, del Toro produced the surprise last-minute guests. ing a lethal drug lord on the worldwide recognition for the supernatural thriller The Orphan- streets of Atlanta, and Beyond 1993 Mexican-American co- age, which became the highest- Deceit, with Anthony Hopkins and production Cronos, a supernatural grossing local language film in Servin’ up Champaign’s favorite . He also has a lead role , which he directed Spain’s history. He partnered pancakes, omelets, milkshake and Everybody Wants in Everybody Wants Some!!, which from his own screenplay after with fellow Alfonso Cuaron and Some!! is being referred to as the spiri- beginning his career as a special Alejandro Gonzalez Iñarritu to more! We are just a block away from tual sequel to ’s effects makeup artist. The film produce Rudo Y Cursi, and . Tuesday, April 12, 7 p.m. cult classic Dazed And Confused. premiered at Cannes 1993, where He is co-screenwriter with Fran Virginia Theatre. The best hangover Free and open to the public Powell co-starred in Expend- it won the Mercedes-Benz Award. Walsh, Philippa Boyens and Peter Foellinger Auditorium, UI campus ables 3 (2014) as an expert It also won over 20 interna- Jackson of the three Hobbit films. cure after a crazy night! hacker and drone pilot. Powell tional awards, including eight On the front, del STEPHEN FEDER (executive was also seen in Russell Frien- Ariel Awards from the Mexican Toro, through his overall deal producer & host) currently serves denberg’s independent thriller, Academy of Film, including Best with DreamWorks Animation, has as SVP of Production & Develop- Wind Walkers. Other film credits Director, Best Screenplay and the been an executive producer on ment for include Sex Ed, Red Wing and the Golden Ariel. He then directed the films Kung Fu Panda 2, Puss in in LA, where he most recently final installment of Christopher and co-wrote the supernatural Boots and Rise of the Guardians. oversaw production for Richard Nolan’s Batman trilogy, The Dark thriller The Devil’s Backbone. Both Upcoming animation projects Linklater’s Everybody Wants Some!! Knight. When not in production, films have appeared repeatedly include Puss in Boots 2 and Kung and served as Annapurna’s execu- Powell resides in LA. in Top 10 lists of the best genre Fu Panda 3. He produced the tive producer on Harmony Korine’s films of all time. In 2004, del The Book of Life, and is develop- Springbreakers and Wong Kar Wai’s JUSTON STREET (actor) is one of Toro directed and co-wrote the ing and will co-direct a 3-D, The Grandmaster. Among his many Hollywood’s leading up-and-com- action adventure sci-fi thriller stop-motion adaptation of Carlo accomplishments, Feder was the ing actors. Most recently, Street ; four years later, he wrote Collodi’s Pinocchio. executive producer of the suc- played his own father, legendary and directed the hit sequel, Hell- In the publishing world, del cessful independent film Kumaré University of Texas quarterback boy II: The Golden Army. Toro co-authored the NY Times — which took home the SXSW® James Street, in Angelo Pizzo’s Del Toro earned international bestselling vampire horror novels Audience Award in 2011. He was biographical sports drama film, acclaim as the director, writer , The Fall and The Night also instrumental on the films of My All American. He will also star and producer of the 2006 fantasy Eternal, which together comprise Sacha Baron Cohen — working opposite Mark Wahlberg in Peter drama Pan’s Labyrinth, which The Strain Trilogy. He is also co- for several years on both Bruno Berg’s action thriller Deepwater won 3 Oscars® — Art Direction, creator of the FX Networks’ hit and The Dictator — each opening Horizon due out this fall. Street’s Cinematography, and Makeup — series based on the novels. Del at the top box office position. past credits include the indepen- and received 3 other nominations Toro directed the first episode Prior to that he developed and dent films Juvenile Transgressions for Best Original Screenplay, of Season 1 and is executive produced TV comedies such as and Degenerates. Best Foreign Language Film and producer on the series, cur- Showtime’s series La La Land, A former professional base- Best Score. In all, the film won rently in production on its third with British Comedian Marc Woot- ball pitcher, Street began his over 40 international awards and season. Dark Horse Comics has ton, and NBC’s Sports Action Team, acting career studying at the appeared on more than 35 critics’ published a graphic novel series starring members of Chicago’s State Theater School for Acting best film lists. also adapted from the trilogy. Del famed Second City and IO. His ex- Training. He then joined a 2-year- In 2013, del Toro wrote and Toro also co-authored Trollhunt- perience is most certainly varied, long Meisner study, becoming a directed the epic sci-fi action- ers (2015), a fantasy-adventure having earned his master’s degree founding member of A Working adventure Pacific Rim, which novel, which will be the basis for from the School of Eco- Group at The Robichaux Studio in has grossed over $400 million a del Toro-produced animated TV nomics and undergraduate degree Austin. In his first theatrical pro- worldwide. He also created the series. from the University of Illinois. duction, Juston played the lead Couch Gag for the 24th annual In 2013, Harper Design pub- role of Chad in Housebreaking, a “Treehouse of Horror” Halloween lished Guillermo del Toro Cabinet GLEN POWELL (actor) is becom- production of ’s Cherry episode of , which of Curiosities, a lavishly illus- ing one of LA’s most sought-after Lane Theatre, where he was on aired in October 2013 and got trated book containing notes, actors, having been recently stage for the entire 2.5-hour over 20 million views on YouTube. drawings and untold creatures described as the Next Big Thing performance. Street currently His most recent feature is the by . resides in LA. Gothic romance Crimson Peak, continued on page 27

24 18th 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 13-17, 2016 • The Virginia Theatre 25 from del Toro’s private journals and Cirque Du and filmmaking diaries, with Freak: The Vampire’s Assistant. never-before-seen characters, Miano also served as executive art and ideas of things to come. producer on In Good Company and In addition, del Toro is currently , and on The Golden developing a TV series based on Compass, starring Naoki Urasawa’s acclaimed manga and Daniel Craig. series Monster. A native of Buffalo, New York, Miano started his career in entertainment at William Morris Agency. He lives in LA with his Grandma wife and son. Thursday, April 14, 1 p.m.

PAUL WEITZ (director) was raised in and, Northfork along with his brother and long- Thursday, April 14, 4 p.m. time collaborator Chris, directed his debut film American Pie. In MICHAEL POLISH (director) addition to writing the animated burst on the film scene at Sun- filmAntz , the Weitz brothers also dance 1999 with Twin Falls Idaho, wrote and directed About a Boy, hailed by as for which they earned an Oscar® a work with “style, gravity and nomination for Best Adapted originality to spare.” He followed Screenplay. Additionally, Weitz that success with Jackpot and the is the writer and director of films filmNorthfork , which Roger called including , American “a masterpiece.” The Astronaut Dreamz and In Good Company; he Farmer followed. Stephen Holden also directed the film Admission. praised Polish’s 2013 movie Laurel Leone Steve Bellamy Danny Wegener Bianca Gomez As a playwright, Weitz works as “(cracking) the code with Second Stage Theatre in of how to adapt New York. His published plays for the screen.“ His two 2015 include Lonely I’m Not, which releases were Amnesiac and 90 starred , and Trust, Minutes In Heaven. starring and . Weitz is currently an executive producer on the series The Third Man , starring Thursday, April 14, 8:30 p.m. Gael Garcia Bernal, which recently won the Golden Globe® ANGELA ALLEN (script super- for Best Comedy Series and Best visor) found her way to a film Actor in a Comedy. His most studio that no longer exists way recent film, Grandma, starring back in the late 1940s and man- Lily Tomlin, was released by Sony aged to get hired as an assistant We specialize in... Pictures Classics earlier in 2015, script supervisor — only then in and earned Tomlin a Golden England they were called “con- Globe® nomination, among mul- tinuity girls.” She trained on 3 • Website Design & Maintenance tiple honors. films and was then told she could CHOICE AGED call herself a continuity girl. • Google, Bing & Yelp Campaigns ANDREW MIANO (producer) has By an incredible stroke of luck RIBEYE STEAKS, partnered with writer-directors she was engaged by the Korda Paul and in their studios to work on the second SALAD BAR • SEO (Search Engine Optimization) production company Depth of unit of The Third Man. Her first Field for the last 15 years. His overseas location was COCKTAILS & WINE • Search-Based Marketing most recent project is the 2015 and while there, she discovered Serving dinner 7 nights critically-acclaimed film Grandma, opera, of which she is still a fan. from 4:30 pm • Social Media named one of the Top 10 Inde- What she learned from Carol Reed pendent Films of the Year by the on that film gave her the confi- No Lunch Served National Board of Review. dence to take on bigger projects. Miano’s other credits include Though the youngest in the busi- Private lunch menu available Admission, starring and ness, she was given Pandora and only for meetings and banquets Paul Rudd; Tom Ford’s A Single the Flying Dutchman and then The Man, starring and African Queen, which started a of 25-100 persons ; ’s working relationship with John www.leonead.com • 650.854.5895 Nick And Norah’s Infinite Playl- Huston that endured for another (217) 351-9115 ist, starring and 13 films. 1701 S. Neil Street • Champaign In the heart of Silicon Valley Kat Dennings; and Paul Weitz’s Allen has found films to be a Being Flynn with Robert DeNiro (A short walk directly SE of Hawthorne Suites) and Paul Dano. He also produced continued on page 28

26 18th 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 13-17, 2016 • The Virginia Theatre 27 wonderful way of traveling and of Fate, Cutting Loose, Ameri- his commitment to nonviolent writer. Her work as an actress in- meeting people. She fell in love canos, The Last Royals, Deadly resistance. cludes roles in ’s with New York in the 1960s and Messengers, Lives in Hazard, Mada- Silence of the Lambs; John Woo’s worked on a TV program about gascar: A World Apart, and Glacier MARCINA HALE (story consul- first American film, Hard Target; the New York World’s Fair in 1939. Bay: Alaska’s Wild Coast. Young is tant) is a co-founder of Reconsid- Rusty Cundieff’s parody of the rap She also worked in New York in also an award-winning cinema- er and story consultant for Dis- music industry, Fear of a Black the office of the late Ray Stark, tographer who has received the turbing the Peace. She is a master Hat; Candyman with Virginia Mad- and was on tour with him for Sundance Excellence in Cinema- therapist and dynamic facilitator sen; Spike Lee’s School Days; and Funny Girl in Philadelphia and tography prize three times, as whose workshops challenge and Vampire’s Kiss with . at opening night in New York. well as a Cinematography Emmy® inspire others to live their lives Lemmons’ first feature-length She worked in LA on a few TV and the cinematography prize at more consciously and to take film, Eve’s Bayou, was the highest series at Universal, one of which the Jackson Hole Wildlife Film responsibility for their own cre- grossing independent film of involved Lee Marvin, with whom Festival. His work has been ex- ations. She is a Licensed Marriage 1997, won the Independent Spirit she worked again on The Dirty hibited theatrically and on HBO, and Family Therapist (LMFT) and Award for Best First Feature, and Dozen a few years later. She feels Cinemax, National Geographic, is trained in Traditional Psycholo- received seven NAACP Image incredibly lucky to have worked the BBC and PBS. gy, as well as in systemic, energy Award nominations, including with so many fascinating and and transpersonal psychologies. Best Picture. In addition, Lem- very different directors, having CHEN ALON (film subject) is mons received a special first-time learned something from all of a theater activist, actor and director award, created just for them. director, who wrote his PhD on her, from the National Board of the Palestinian-Israeli Polarized L’inhumaine Review. She also won the Direc- Model of Theater of the Op- Friday, April 15, 4 p.m. tor’s Achievement Award at the pressed, in the theater depart- Palm Springs Film Festival. Her Disturbing the Peace ment at Tel-Aviv University. ALLOY ORCHESTRA is a three-man follow-up feature, The Cave- Friday, April 15, 1 p.m. As a Major (Res.) in the Israeli musical ensemble, writing and man’s Valentine, a co-production army, he co-founded Courage to performing live accompaniment of Danny Devito’s Jersey Films STEPHEN APKON (director/pro- Refuse, a movement of officers to classic silent films. Working and starring Samuel L. Jackson, ducer) is a filmmaker and social and combatant soldiers who with an outrageous assemblage of opened Sundance 2002 to audi- voted best place for a fi rst date FOUR entrepreneur. He is the producer refuse to serve in the occupied peculiar objects, they thrash and ence and critical acclaim. years in a row by Buzz Magazine of I’m Carolyn Parker, directed by , an action grind soulful music from unlikely For the 2002 Oscar® telecast, Jonathan Demme, and Enlistment for which he was sentenced to sources. Performing at presti- Lemmons directed a touching prison. Alon is also a co-founder gious film festivals and cultural tribute to . She was 119 N. Walnut Street, Champaign, IL 61820 | (217) 398-7729 Days, directed by Ido Haar, as well as co-producer of the soon- of Combatants for Peace, a move- centers in the U.S. and abroad also involved in an exploration to-be-released Presenting Princess ment of Palestinian and Israeli (The Telluride Film Festival, The of the roles and representations Shaw, also directed by Haar. He combatants who have abandoned Louvre, Lincoln Center, AMPAS, of black women in film for the is also the executive producer of the way of violence and struggle the National Gallery of Art and 2003 Tribeca Film Festival. Lem- Planetary, released in 2015. He is together nonviolently against others), the Alloy Orchestra has mons’ third feature, Talk to Me the founder and former execu- the occupation. Activism in the helped revive some of the great (2007), starring Don Cheadle, was tive director of the Jacob Burns complicated reality in Israel/Pal- masterpieces of the silent era. released to widespread critical ac- Film Center, a nonprofit film and estine led him as a professional An unusual combination of claim, winning the NAACP Image education center in Pleasant- actor and director in the Israeli- found percussion and state-of- Award for outstanding directing ville, New York, which opened in Palestinian repertory theater to the-art electronics gives the and a Gotham Award for best saving the world Ebertfest 2001 and has become one of the search and create new forms of Orchestra the ability to create ensemble cast, and Chiwetel Ejifor premier film institutions in the political activism to resist the any sound imaginable. Utilizing took home an Independent Spirit U.S. The JBFC board of directors occupation. their famous “rack of junk” and Award for Best Support Actor. includes , Ron electronic synthesizers, the group Lemmons’ most recent feature, two feet Howard and Jonathan Demme, SULAIMAN KHATIB (film generates beautiful music in a Black Nativity (2013), was an ad- among others. subject) is a co-founder and co- spectacular variety of styles. They aptation of the Langston Hughes’ Apkon is the author of The Age director of Combatants for Peace, can conjure up a simple German musical by the same name. at a time of the Image: Redefining Literacy a non-profit Israel/Palestinian bar band of the 1920s or a French Lemmons has worked exten- in a World of Screens (2013), in peace building organization. symphony. The group can make sively as a mentor and educator. which he convincingly argues He was the General Director of the audience think it is being For the past 14 years she has been that now is the time to transform Al-Qud’s Association for Democ- attacked by tigers, contacted by a board member of Film Inde- the way we teach, create and racy and Dialogue, which he radio signals from Mars, or swept pendent and has contributed to communicate so that we can all founded with fellow Palestinian up in the Russian Revolution. the Film Independent Filmmaker step forward together into a rich peace activists in 2006, working Orchestra members are Terry Labs as a speaker and modera- and stimulating future. His most with youth and kids in order to Donahue (junk percussion, ac- tor. She also continues to serve recent endeavor is the formation be able to create effective and cordion, musical saw and banjo), as an advisor for the Sundance of Reconsider, a nonprofit media sustainable projects and pro- Roger Miller (synthesizer, percus- Screenwriter and Filmmaker Labs. company. grams focusing on the promotion sion) and Ken Winokur (director, Her teaching and speaking credits of peace, democracy and civic junk percussion and clarinet). include Yale University, Columbia HEELtoTOE ANDREW YOUNG (director/ participation in the Palestinian Film School, MIT, UCLA, USC, The LA Film School and The University cinematographer) is an ac- Territories. 106 W. Main, Urbana, IL claimed filmmaker whose work At the age of 14, Khatib was Eve’s Bayou of Pristina Film School in Kosovo. has received an Oscar® nomina- sentenced to 15 years in prison, Lemmons was the Vassar College p 217.367.2880 f 217.367.8002 tion, two Emmy® awards, seven of which he served 10.5 years, Friday, April 15, 9 p.m. 2008 Artist in Residence and the Emmy® nominations, and five where he spent his time learning UCLA 2010-2011 Regents’ Lecturer Roger’s enduring legacy Sundance awards, including the about other world conflicts and KASI LEMMONS (director) con- in the School of Theater, Film & [email protected] Grand Jury Prize. He has directed peace activists such as Gandhi tinues to creatively tantalize with Television. She was also the lead- www.heeltotoe.com Chuck and Eileen and photographed over a dozen and Mandela, while participating her thought-provoking body of documentaries, including Children in hunger strikes and developing work as an actress, director and continued on page 31 28 18th 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 13-17, 2016 • The Virginia Theatre 29 er/moderator of AFI curriculum’s Films. In 2012 Rebecca produced FATHER MICHAEL PFLEGER truth and based on Jesus’ com- core class, Narrative Workshop. and directed the interactive Web (social activist) was ordained mand to love one another. This As well as attending NYU documentary and engagement a priest of the Archdiocese of holy calling has led him to be a School of the Arts, UCLA and The campaign, Protect Our Defenders, Chicago in 1975. In 1981, at the parent, a preacher, a teacher, a New School of Social Research telling the stories of military age of 31, he became the young- lecturer and an activist. However, Film Program, Lemmons was sexual assault survivors as part est full pastor in the diocese he believes his most important awarded an Honorary Doctor of of an advocacy campaign to re- when he was appointed Pastor of role is as an errand boy for Jesus! Humane Letters from Salem State form the military justice system. Saint Sabina Church. That same College in 1998. Currently, she The Protect Our Defenders proj- year he became the proud adop- is an associate arts professor at ect won the YouTube DoGooder tive father of an 8-year-old son, NYU’s Tisch School of the Arts. nonprofit video award and the Lamar. In 1992, he also became Love & Mercy Salsa Labs 2012 Hot Tamale the adoptive father of Beronti. In Saturday, April 16, 4:30 p.m. Award for outstanding campaign 1997, he became a foster father organizing. Rebecca is also an to Jarvis Franklin, who was tragi- Force of Destiny editor on Radical Grace. cally killed as a result of gang Saturday, April 16, 11 a.m. crossfire in 1998. Blow Out NICOLE BERNARDI-REIS (pro- Since 1968, Father Pfleger Saturday, April 16, 9 p.m. PAUL COX (director) is an auteur ducer) has produced TV series has lived and ministered in the of international acclaim. Born in and films for a wide range of African-American community on NANCY ALLEN (actress) was Holland, he migrated to Australia broadcast outlets including A&E, both the west and south sides of born in New York City, the young- in the mid 1960s. Initially work- E!/Style, HGTV and the Science Chicago. He spent two summers est of three children of Eugene ing as a stills photographer and Channel. With Montrose Pic- working in a Native American and Florence Allen. Her father teaching at Prahran College, Cox tures, she has produced Algren, a community in Oklahoma, and was a police lieutenant in Yon- has retained his love of photog- feature length documentary that did his seminary internship as kers, where she was raised. She raphy while also becoming one of received its world premiere at the a Chaplin at Cook County Jail was a shy child, so her mother Australia’s most prolific and indi- 2014 Chicago Film Festival. She and at Precious Blood Catholic enrolled her in dance classes at vidualistic filmmakers. Cox’s early credits her passion for storytell- Church, both in Chicago. He the age of 4. She attended the films were impressionistic shorts, ing to the nuns at her Adrian Do- is the founder of the Employ- High School of Performing Arts, and his early features, Lonely minican high school, who taught ment Resource Center, the Ark where she trained for a dancing Hearts (1981), her to always seek the truth and Youth Center, Saint Sabina Social career before attending Jose (1983) and (1984) broadcast it as far as you can. Service Center, Thea Bowman Quintano’s School for Young were highly acclaimed both lo- Spiritual Advance Center, Samari- Professionals. cally and internationally. Over HEATHER McINTOSH (composer) tan House for the homeless, Saint Allen has worked with some a 40-year career, the signature was already leaving a permanent Sabina 80-unit Elders Village and of Hollywood’s biggest directors. traits of Cox’s work are a deep mark in the music scene before the Beloved Community, Inc. Her first major film role was as humanism, a poignant and she composed her first movie Father Pfleger has been ’s nervous date realistic focus on relationships score. She toured with Lil’ Wayne, actively involved in campaigns in (1973). This and a profound affinity with the played bass for Gnarls Barkley, against racism, drugs, parapher- inspired her to move to LA, where arts, no more evident than in his created music with indie bands nalia sales, alcohol and tobacco she scored a role in Brian De two stand-out documentaries, like Animal Collective, Norah billboards that target children, Palma’s horror film Carrie (1976). Vincent: The Life and Death of Jones, and St. Vincent, and music and other media that glo- She next appeared in Robert Vincent van Gogh (1987) and The has performed on stage with a rify violence and degrade women, Zemekis’s debut film I Wanna Hold Diaries of Vaslav Nijinsky (2001). variety of artists, such as Bright and the easy access to guns and Your Hand (1978), followed by a Cox tackles subjects that Eyes of Montreal and Cat Power. the violence that is snatching string of hit films including Ste- others eschew, evident in the An indie rocker at heart, she the lives of children across the ven Spielberg’s 1941 (1979), and poignant A Woman’s Tale (1990), collaborated with the Elephant 6 country. His activism has been De Palma’s Home Movies (1980), exploring terminal illness and Collective on various projects. reported in People, Time, Ebony, Dressed to Kill (1980) and Blow aging, for which Sheila Florance Her first two feature length Newsweek and Jet magazines; Out (1981). She was nominated won an AFI best actress award, narrative films were accepted The New York Times, the Los for the Golden Globe® New Star and Innocence (2000), about the into the Sundance, Compliance Angeles Times, The Washington of the Year for her performance love affair between two septua- (2012, directed by Craig Zobel) Post, USA Today, the Chicago as Liz Blake, a prosperous call girl genarians. An international film and The Rambler (2013, directed Tribune, the Chicago Sun-Times, who dabbles in the stock market, festival favorite, Cox is one of by Calvin Lee Reeder, co-com- the Chicago Reader and numerous in Dressed to Kill. the true independent filmmakers posed with Scott Honea and Jed other periodicals. He has also Throughout the 1980s, Allen of Australian cinema. Meheu). Heather was one of only been profiled on the following TV starred in numerous films, includ- four women who made the 2013 shows: Day One, 60 Minutes; the ing Strange Invaders (1983), The ® shortlist of BBC, Larry King Live and Night- Buddy System (1984), and The composers for Best Original Score line. Father Pfleger was cited in Philadelphia Experiment (1984), Radical Grace for her score to Compliance, and Crain’s Chicago Business as one for which she received a best Saturday, April 16, 2 p.m. again in 2015 with her score to of the best and most entertain- actress Saturn Award nomina- her second collaboration with ing preachers in Chicagoland, and tion. She also starred in Not for REBECCA PARRISH (director/ Zobel, Z for Zachariah. Ebony cited The Faith Community Publication (1984) and Sweet cinematographer/editor) has Originally from Athens, Geor- of Saint Sabina as one of the Revenge (1987), and hosted the run her Chicago-based film com- gia, where she worked at a video churches symbolizing the New documentary Terror in the Aisles pany, Interchange Productions, store, it quickly become apparent Black Spirituality. (1984), which highlighted clips since 2007. She has worked as that she was destined to become As a minister, Father Pfleger from iconic horror films including an editor and cinematographer a film composer, combining her has sought to break down the Dressed to Kill and Carrie. with Peabody and Sundance talent and passion for music with walls of racism and denomi- In 1987, Allen created the award-winner Judith Helfand, her love for cult and art films. nationalism by building unity Kindling Group and Kartemquin Heather currently lives in LA. among all people founded on continued on page 32

30 18th 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 13-17, 2016 • The Virginia Theatre 31 role of police offi cer Anne Lewis cians (AACM), there are few barri- semble comprovisation/ improvi- to his award-winning feature in the science fi ction classic ers to the creative turns of this sation development. releases, he and his colleagues RoboCop, which was a tremendous composer, conductor, artist, and Aspects of the art world per- have also restored and theatri- box offi ce success and earned instrumentalist. As a featured meate Baker’s work. Her perfor- cally reissued some of the great Allen her second Saturn Award ensemble, CMOP has been chosen mance art work, Sunyata: Towards films of the past. nomination. Following Robo- to work with NewMusicUSA and Absolute Emptiness, premiered at In recognition of his work, Cop’s success, she starred in The the EarShot program of the the Museum of Contemporary Art Barker has received many honors Gladiator (1987) and Poltergeist American Composers Orchestra. (MCA) Chicago in May 2015, and and awards. Most recently, he III (1988). In 1990, she reprised Called the latest AACM visionary her tactile score sculpture works and Bernard were awarded the her role in RoboCop 2, for which by DownBeat Magazine, Baker is will be featured as part of MCA esteemed French Legion of Honor she studied martial arts and one of the brightest and most Chicago’s Sunyata premiere. in acknowledgment for their participated in actual police fertile minds in active in compo- Baker has composed four op- contributions to French culture training to make her character sition today. eras, and is currently working on over the past 30 years. tougher and more physical. An expert at ensemble two film scores, having composed Also in 1990, Allen showcased development and training, and released a new score for Os- ANGELICA JADE BASTIÉN is an her comedic abilities in Richard Baker developed the Mantra Blue car Michaeux’s masterpiece Body essayist and pop culture critic Martini’s Limit Up. She also had Free Orchestra (Chicago), PEK’ And Soul (1925), with the music based in Chicago. She has been the distinction of starring in the Contemporary Project (), performed by her CMOP ensem- published by The Atlantic, Bright very fi rst Lifetime Original Movie, is the progenitor of Bleueblue ble, premiering at MCA Chicago Wall/Dark Room, Oprah Magazine the highly-regarded Memories of Walkers/Bass Kollektief, Twilight in April 2015. She is currently and RogerEbert.com. She writes Murder (1990). Her performance Struggles (Berlin), and has been embarking on a 3-year project to regularly for Vulture. You can find in RoboCop 3 (1993) earned her involved in launching over 20 produce original music scores for her on @angelicabastien another Saturn Award nomina- cutting-edge new music ensem- 20 forgotten film masterpieces and on her website madwom- tion. She continued to develop bles, including Tuntui, Wrinkled of Oscar Michaeux, Spencer Wil- enandmuses.com. the character, softening the Linen, Chocolate Chitlin’ Caucus, liams, and D.W Griffith. tough-as-nails demeanor seen in Red Chai Watch, FAQtet, Project MARK DUJSIK has been writing the two previous fi lms. She felt 6, Renée Baker’s Awakening, Bak- about film since 2001. He is a more confi dent displaying the er ArTet, a Butoh ensemble Body 2016 Critics & contributor for RogerEbert.com character’s feminine side. Strata, and Strings Attached. and is also the sole writer, editor Allen co-starred as a psychic Baker has performed globally Special Guests and publisher of Mark Reviews opposite Roger Moore in The from Bimhuis (Amsterdam) to Movies. Mark was a staff writer/ Man Who Wouldn’t Die (1994). In Symphony Center (Chicago) and NICK ALLEN is an assistant edi- co-critic at UR Chicago Magazine 1997, she starred in Quality Time, was a founding member as well tor at RogerEbert.com. He has from 2007 until the end of its which was offi cially released in as Principal Violist of Chicago been writing about film online print edition in 2008, has writ- 2008 as My Apocalypse. Allen Sinfonietta for 26 years. since 2007, contributing to vari- ten reviews for various online had a small but memorable role She has composed over 2,000 ous publications including The publications, and currently as Midge in Steven Soderbergh’s works for ensembles ranging Film Stage, Movie Mezzanine, Hol- contributes to Magill’s Cinema crime thriller Out of Sight (1998). from pieces for instrumental lywoodChicago.com, The Scorecard Annual. He has been a member of She continued to work on such solos, ballet and opera to large Review, and now RogerEbert. the Chicago Film Critics Associa- projects as Children of the Corn orchestral works that bridge the com. His film reviews can also tion since 2006 and the Online 3 rules of words that work 666: Isaac’s Return (1999), Kiss classical, jazz and creative music be found in your local library’s Film Critics Society since 2002. _ Toledo Goodbye (1999) and Secret genres. Her ability to embrace recent copy of Magill’s Cinema When he’s not watching and writ- _ of the Andes (1999). various creative parameters in Annual. He has been a member of ing about movies, Mark works as In 2010, Allen was named Ex- her work has led to commissions the Chicago Film Critics Associa- a grant writer in the non-profit Stop Using Negative Words ecutive Director of the weSPARK for the Chicago Sinfonietta, tion since 2010. You can follow sector, with experience in the Cancer Support Center, which was Berlin International Brass, PEK’ him on Twitter @nickallen_redux fields of secondary education, founded by her longtime friend Contemporary Project, and the arts, and human services. Start Using Words that Work and I Wanna Hold Your Hand DanceWright Project, among MICHAEL BARKER, Co-President co-star, Wendie Jo Sperber. Of others. As an author/composer, and Co-Founder of SHAWN EDWARDS is a journalist, Joy in Learning her work at weSpark, she said: she has self-published 5 graphic Classics, has (with Tom Bernard) pop culture guru and TV and film “That is what I do. That is what score novels and is currently distributed, and often produced, producer. As a nationally recog- Always say what you can do Excellence in Education my life is dedicated to. I’m there, scoring the silent Japanese fi lm A some of the finest independent nized film critic for Fox 4 News _ _ I run it. I’ve created the whole Page of Madness. movies over the past 30 years. in Kansas City, Missouri, he has program format and I fundraise. As a disruptive force in Previously he was an executive won numerous national awards, It is my life’s work.” composition, she has create a at (1980-1983) including Best TV Film Critic Sign Up for Mary’s Newsletter gestured conducting language and went on to co-found Orion twice by the LA Press Club’s Na- she calls CCL/FLOW (Cipher Classics (1983-1991) and Sony tional Entertainment Journalism Countryside School Body and Soul Conduit Linguistics), which she Pictures Classics. Awards. Edwards, the co-founder has employed when working with Barker’s films have received of AAFCA (African American Film Delusional Ambition Sunday, April 17, noon numerous cutting-edge groups 159 Academy Award® nomina- Critics Association), also created K - 8th grade in Cologne, Berlin, Netherlands, tions and 36 wins, including 5 for I Love Black Movies, the popular and receive her e-book RENEE BAKER is founding music London, Chicago, Portland (OR) Best Documentary Feature and 12 Web series and movie community. 4301 W. Kirby Avenue director and conductor of the in- and other international en- for Best Foreign Language Film He is a life-long lover of movies Champaign, IL 61822 ternationally acclaimed CHICAGO sembles. Another aspect of her and 23 Golden Globe® Awards. who began making his own films MODERN ORCHESTRA PROJECT composition skills is the develop- Barker has collaborated with in the 7th grade. He is currently Words that Work 217.355.1253 (CMOP), a polystylistic organiza- ment of her painted score explor- some of the world’s finest film- writing a book on the history of tion that grew from the plums of atorium pieces for ensembles of makers including , black film and the executive pro- available for immediate download www.countrysideschool.org classical music as well as jazz. A variable sizes. Baker is also in Pedro Almodovar, Mike Leigh, ducer of Fox 4’s “Movie Trip TV.” member of the world-renowned demand as a lecturer and expert Louis Malle, and Zhang Yimou, collective Association for the in nontraditional composition all of whom he’s worked with on www.maryshores.com Advancement of Creative Musi- techniques, as well as large en- multiple occasions. In additional continued on page 34

32 18th 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 13-17, 2016 • The Virginia Theatre 33 MATT FAGERHOLM is an assis- of Directors of the National release of that film. Her film While Black: Centering the Televi- tant editor at RogerEbert.com Film Preservation Foundation. reviews, articles, and interviews sion of Black Audiences. Eric can and is a member of the Chicago He hosted and co-produced the with actors and directors have also be seen in the documenta- Film Critics Association. He has popular Walt Disney Treasures DVD appeared in The Dissolve, Masters ry Infiltrating Hollywood: The Rise been covering the film beat in series and has appeared on in- of Cinema, Movie Mezzanine, and Fall of the Spook Who Sat By Chicago for the past decade, and numerable TV programs and docu- Flavorwire, Capital New York, Fan- The Door. Eric holds two degrees has contributed to publications mentaries. He is the recipient of dor, Press Play, Noir of the Week, from the University of Illinois at including Time Out Chicago, The awards from the LA Film Critics Salon.com and Bright Wall/Dark Urbana-Champaign, a BFA in Fine A.V. Club, HollywoodChicago.com Association, American Society of Room. For this years’ Lifetime Arts and a PhD from the Institute and Magill’s Cinema Annual. He is , the Telluride Achievement Oscars® ceremony, for Communications Research. a monthly guest on Vocalo radio’s Film Festival, George Eastman she wrote the narration (read by “The Morning Amp” program, House, Anthology Film Archives, Angelina Jolie) for the tribute GIL L. ROBERTSON IV is a co- and is also the founder of Indie and San Diego’s Comic-Con Inter- reel to legendary actress Gena founder and president of the Af- Outlook, a blog and podcast national. Perhaps the pinnacle Rowlands. O’Malley writes about rican American Film Critics Asso- featuring exclusive interviews of his career was his appearance actors, movies, and Elvis Presley ciation (AAFCA), the leading body with some of the most exciting in a now-classic episode of South at her personal site, The Sheila of Black American film critics voices in modern independent Park. (Or was it Carmela consult- Variations. July and Half of August in the world, that produces the filmmaking. ing his Movie Guide on an episode is her first full-length script, with annual AAFCA Awards, and which of The Sopranos?) He holds court recent readings at The Vineyard has developed into an important CHUCK KOPLINKSKI had his first at leonardmaltin.com. Follow him Theatre in New York and Theatre event on the Hollywood Awards conscious opinion about a movie on Twitter and Facebook. Wit in Chicago. A short version of Calendar. During a 20-year career when he was 8 years old, but had it premieres on April 23, 2016, at as a journalist, Gil has written to wait 20 years before being NELL MINOW began reviewing the Albuquerque Film and Music. over 50 national magazine covers able to express his views about movies for her high school and and penned articles for the LA film to the public. Having studied college newspapers and has been MICHAEL PHILLIPS has been , the Atlanta Journal Consti- cinema at Columbia College in writing reviews online as the Chicago Tribune film critic since tution, Billboard, Essence, Ebony, Chicago, he’s been reviewing Movie Mom since 1995. Her web- 2006. He’s a monthly guest on the Fortune and USA Today among films for over 20 years in various site Movie Mom includes reviews Filmspotting podcast (also broad- others. He is the founder and Central Illinois publications, of theatrical and DVD/Blu-Ray cast on Chicago Public Radio) editor of the 18-year-old nation- until settling at Champaign’s releases as well as features, and, earlier this year, the host of ally syndicated Arts & Lifestyle News-Gazette and Springfield’s interviews, and contests, and The Film Score, a 28-episode cele- column, the Robertson Treatment, Illinois Times, where his reviews she appears each week on radio bration of movie music broadcast that boasts a readership in excess and writing appear each week. A stations across the country and on WFMT-FM. On TV he co-hosted of 2 million, and also writes member of the Broadcast Film to talk about new releases. Her 100 episodes of the long-running the weekly “Hollywood Insider” Critics Association and Chicago writing about movies and popular nationally syndicated At the Mov- column for Black Enterprise. Film Critics Association, he has a culture has appeared in many ies, first opposite , As an author, Gil has written/ weekly film segment on WCIA-TV outlets, including RogerEbert. then A.O. Scott. Other TV ap- edited four books, with his most Channel 3 and MIX 94.5 FM. com, The Huffington Post, USA pearances include guest-hosting recent being Where Did Our Love Today, the Chicago Tribune, the stints on Turner Classic Movies Go: Love and Relationships in LEONARD MALTIN is one of Chicago Sun-Times, the Kansas City along with appearances on Charlie the African American Community the world’s most respected film Star, and the MPAAs The Credits. Rose, CBS Saturday Morning, Who (2013). His previous titles include critics and historians. He is best Her books include The Movie Wants to Be a Millionaire and The the bestselling anthologies known for his widely-used refer- Mom’s Guide to Family Movies, 101 View. After serving as arts editor Family Affair: What it Means to be ence work Leonard Maltin’s Movie Must-See Movie Moments, and the of the Twin Cities weekly City African American Today (2008), Guide and its companion volume 50 Must-See Movies series. Pages, he worked as drama critic selected as a Pick of the Week by Leonard Maltin’s Classic Movie of the Dallas Times-Herald, the San Publisher’s Weekly, and Not in My Guide, as well as his 30-year run RICHARD NEUPERT teaches Film Diego Union-Tribune, the St. Paul Family: AIDS in the African Ameri- on Entertainment Tonight. He Studies at the University of Pioneer Press, the LA Times, and can Community (2006), both of teaches at the USC School of Georgia, where he is the Charles the Chicago Tribune, which Phillips which were nominated for NAACP Cinematic Arts, appears regu- Wheatley Professor of the Arts joined in 2002. He lives with his Image Awards for Outstanding larly on Reelz Channel and Turner and Josiah Meigs Distinguished wife, Tribune columnist Heidi Nonfiction. Robertson’s first book Classic Movies, and hosts the Teaching Professor. His recent Stevens, and their three children was Writing as a Tool of Empower- weekly podcast Maltin on Movies books include the History Of The in Logan Square. He’s happy and ment (2001), a resource book with Baron Vaughn for the Earwolf French New Wave Cinema, French honored to be back at Ebertfest, for aspiring journalists. He also network. His books include The Animation History, and John Las- and to be working with the inau- executive produced the music 151 Best Movies You’ve Never Seen, seter (U of Illinois Press, 2016). gural trio of Roger Ebert Fellows CD that accompanied his second Of Mice and Magic: A History of graduating this spring from the book, Not in My Family (Verity American Animated Cartoons, The SHEILA O’MALLEY received a BFA University of Illinois. Records). For the past decade he Great Movie Comedians, The Disney in Theater from the University has been a regular contributor Films, The Art of the Cinematog- of Rhode Island and a Master’s ERIC PIERSON is professor of to The African American Almanac rapher, Movie Comedy Teams, The in Acting from the Actors Studio Communication Studies and (Gale Press), writing the chapter Great American Broadcast, and MFA Program. She is a regular former chair of the Communica- dedicated to TV & Film. Forth- Leonard Maltin’s Movie Encyclo- film critic for RogerEbert.com. tion Studies Department at the coming projects includes his first pedia. He served two terms as She has written for The Criterion University of San Diego. His work Children’s book, Great African president of the LA Film Critics Collection, contributing a video- on black images and audiences American Political Leaders (Just Association, is a voting member essay on for Crite- has appeared in Beyond Blaxploi- Us Books) and Unheralded Icons of of the , and rion’s release of ’ tation, Documenting The Black the Civil Rights Movement from the was appointed by the Librarian Love Streams (1984) and an essay Experience, Screening Noir, Journal University of Georgia Press. of Congress to sit on the Board on Gilda (1946) for Criterion’s of Mass Media Ethics and Watching continued on page 37

34 18th 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 13-17, 2016 • The Virginia Theatre 35 MATT ZOLLER SEITZ is the editor- she received an NAACP Image in-chief of RogerEbert.com. He Award nomination for outstanding is also the TV critic for New York directing in a TV motion picture. Magazine & Vulture.com and a Christine currently has finalist for the Pulitzer Prize in numerous projects in development, criticism. including the feature film version A -based writer and of her highly celebrated short film, filmmaker, Seitz has written, Two Seasons. She was also tapped narrated, edited or produced over to adapt the award-winning 100 hours’ worth of video essays book, Touching Spirit Bear by Ben Sign a lease for Fall 2016 & get a about cinema history and style Mikaelsen, into a screenplay. A for The Museum of the Mov- dynamic keynote speaker, guest ing Image and The L Magazine, lecturer and symposium leader, among other outlets. His 5-part Christine is invited to speak 2009 video essay Wes Anderson: at conferences, colleges and $240 Gift Card The Substance of Style was later universities. She is also a professor spun off into the New York Times at the MFA Screenwriting Program bestsellers The Wes Anderson at the University of Georgia as OR Collection (2013) and The Wes An- well as an advisor to the Film and derson Collection: Grand TV program at the University of Hotel (2015). Seitz’s other books Notre Dame. Christine resides in including the forthcoming The LA with her husband, Michael, and Experience (Septem- their children. New Low Rates! ber, 2016) and TV (The Book) (also September, 2016, co-written BRIAN TALLERICO has covered with Alan Sepinwall). Seitz is the TV, film, video games, Blu-ray/ founder and original editor of DVD, interviews and entertain- The House Next Door, now a part ment news for 15 years. He is the of Slant, and the co-founder and managing editor of RogerEbert. original editor of Press Play, a com. In addition, he is the editor blog of film and TV criticism and of Magill’s Cinema Annual, does video essays. TV recaps for Vulture, writes the PlayStation Guide for About.com, CHRISTINE SWANSON, a multiple and freelances for Videohound. He award-winning filmmaker, earned also serves as Vice President of her MFA in Film from NYU's Tisch the Chicago Film Critics Associa- Take a tour & get a School of the Arts, where she tion and co-produces the Chicago was selected by faculty as the Critics Film Festival. None of it is Willard T.C. Johnson Fellow, the possible and none of it is worth- prestigious fellowship awarded while without the support of his to the student who has achieved wife Lauren and 3 boys: Lucas, high standards in his or her work. Miles, and Noah. Starbucks CNN identified Christine as one of the most promising filmmakers to SUSAN WLOSZCZYNA spent emerge from NYU’s graduate film much of her nearly 30 years at program since Martin Scorsese, USA Today doing her job , Oliver Stone and Spike as a film critic as well as a senior Lee (Christine’s NYU directing entertainment reporter, includ- teacher). Christine also earned ing a visit to the New Zealand set Gift Card! of The Lord of the Rings, being a a BA from the University of Notre Dame, double majoring in zombie extra in George Romero’s Communications and Japanese. Land of the Dead and interview- Christine has developed, written ing hundreds of show-biz figures and/or directed movie projects for ranging from icons , various companies including HBO Shirley Temple and Peter O’Toole Films, , State to A-listers such as George SAVE UP TO $340 WITH ZERO DOWN Street Pictures, TV One, and Faith Clooney, and Denzel Filmworks, her own independent Washington. Since 2013, she has film company. Christine has been a critic and regular contrib- written and/or directed numerous utor to RogerEbert.com and has award-winning feature films, written for the blogs Anne Thomp- commercials and short films, son on Hollywood and Women and ILLINISTUDENTHOUSING.COM including Two Seasons, All About Hollywood on Indiewire and AARP You, All About Us, and Woman The Magazine. IS NOW Thou Art Loosed. In 2015, Christine directed 3 Go to www.ebertfest.com to original cable TV movie premieres, read our Official Festival Blog. To Hell and Back, Come Share My AMERICANCAMPUS.COM Love, The Miki Howard Story, and Prizes & fees are subject to change. Limited time only. While supplies last. See office for details. For the Love of Ruth, for which

36 18th 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 13-17, 2016 • The Virginia Theatre 37 FREE SCREENING Everybody Wants Some!! Tuesday, April 12 | 7 p.m. | Foellinger Auditorium This pre-festival screening will be on the University of Illinois campus and is free and open to the public.

Richard Linklater’s new film, “Everybody Wants Some!!,” is being referred to as the spiritual sequel to his cult classic “Dazed and Confused.” The film centers on a rowdy group of college

baseball players in Actor Glen Powell stars as Finnegan Actor Juston Street stars as Jay Niles Executive Producer Stephen Feder will in “Everybody Wants Some!!” and is in “Everybody Wants Some!!” and is host the free screening of “Everybody 1980s Texas. one of this year’s Ebertfest guests. one of this year’s Ebertfest guests. Wants Some!!”

on the corner of 118 N. NEIL ST. Chester & Market SANDWICHES, SOUPS | WRAPS & BREAKFAST 䌀栀愀洀瀀愀椀最渀ⴀ唀爀戀愀渀愀 䄀搀瘀攀渀琀甀爀攀猀 椀渀 吀椀洀攀 愀渀搀 SERVED ALL DAY 匀瀀愀挀攀 椀猀 愀渀 椀渀琀攀爀愀挀琀椀瘀攀 爀攀愀氀ⴀ氀椀昀攀 攀猀挀愀瀀攀 爀漀漀洀 最愀洀攀 椀渀 搀漀眀渀琀漀眀渀 唀爀戀愀渀愀⸀ 39 MAIN STREET 吀攀愀洀猀 漀昀 ㈀ⴀ㄀ 瀀氀愀礀攀爀猀 栀愀瘀攀 㘀 洀椀渀甀琀攀猀 琀漀 昀椀渀搀 挀氀甀攀猀Ⰰ 挀漀洀瀀氀攀琀攀 瀀甀稀稀氀攀猀Ⰰ 搀椀猀挀漀瘀攀爀 猀攀挀爀攀琀 搀漀漀爀猀Ⰰ 愀渀搀 猀漀氀瘀攀 愀 最爀攀愀琀攀爀 洀礀猀琀攀爀礀⸀ 䔀愀挀栀 猀挀攀渀愀爀椀漀 椀猀 搀攀猀椀最渀攀搀 琀漀 洀愀欀攀 昀爀椀攀渀搀猀Ⰰ 昀愀洀椀氀礀Ⰰ 漀爀 挀漀眀漀爀欀攀爀猀 昀攀攀氀 氀椀欀攀 琀栀攀礀 愀爀攀 氀椀瘀椀渀最 漀甀琀 愀 洀漀瘀椀攀℀

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38 18th 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 13-17, 2016 • The Virginia Theatre 39 wednesDAY7PM FILMCREDITS CRIMSON CrimsonCrimson Peak Peak PEAK (2015) Rated R

Written by Del Toro brings the supernatural to life in gothic romance Guillermo del Toro and Matthew Robbins By Sheila O’Malley | Oct. 16, 2015 Directed by Guillermo del Toro In the 1831 introduction to detail and drowning them with “Frankenstein,” Mary Shelley symbolism. The fact that most Best of all though is (Guillermo del Toro’s) CAsT: described the genesis of her of what is onscreen is physical, Mia Wasikowska as Edith classic story. During an evening rather than computer- belief that “what terrifies him, Cushing with her husband Percy Shelley, generated, helps. “Crimson Jessica Chastain as Lucille Lord Byron and another guest, Peak’s” atmosphere crackles terrifies others.” He’s right. Sharpe they got the idea to entertain with sexual passion and dark as Thomas one another by writing ghost secrets. There are a couple of Sharpe Mia Wasikowska plays Edith Cushing, an American heiress, in “Crimson Peak.” stories. Mary Shelley couldn’t monsters (supernatural and Running time: 119 minutes come up with anything and human), but the gigantic mysterious British brother and black gowns. It’s often raining, went to bed, still thinking, emotions are the most sister Thomas and Lucille Sharp creating underwater, wavery law gliding through the house lock, she might understand the She must be brave enough to Print courtesy: and then became possessed by terrifying thing onscreen. Del (Tom Hiddleston and Jessica shadows on the walls. But it’s a with a heavy key chain rattling secrets buried in that house, face these phantasms, to look NBC Universal Pictures an image of a man lying on Toro’s films can take Grand Chastain) arrive in town. The civilized world with recognized at her waist. and her own destiny. them in the eye, to see what a table and slowly coming to Opera emotion. In Victorian- two have fancy English titles, rules. Allerdale Hall, on the “Crimson Peak” is As in “Pan’s Labyrinth,” she is not supposed to see. On life. Shelley recalled that she era England, the Lyceum but are penniless, begging for other hand, is a black turreted reminiscent of Hitchcock’s “Crimson Peak” creates an the opposite side, Thomas and bolted awake thinking, “I have Theatre awed audiences with financial backing for one of ruin of a mansion standing in “Notorious” in more environment where these Lucille must prevent Edith from found it! What terrified me will revolutionary stage effects Thomas’ inventions. Thomas the middle of empty fields. ways than one (although high stakes can operate at seeing. precedent for the effectiveness terrify others; and I need only designed to bring the horror of pursues Edith with burning Red clay oozes up through the “Rebecca” is also a clear full throttle. The visuals Del Toro uses a lot of old- of these devices, and they’re describe the spectre which had “Macbeth” (for example) to the sensitive eyes, all under his rotting floorboards, coating influence). In “Notorious,” of Allerdale Hall call to fashioned camera tricks like effective here too. Kitchen- haunted my midnight pillow.” audience in visceral new ways. sister’s watchful glare, and the walls of the basement. The Alicia Huberman (Ingrid mind German Expressionist wipes (as transitions from sink realism is a recent Director Guillermo del Del Toro’s style would have fit Edith falls hard. An optometrist hall inside the main entrance Bergman) marries Alexander filmmakers, as well as directors scene to scene), and there are phenomenon, and del Toro’s Toro has a similar belief in with that. He has placed named Alan McMichael (Charlie reaches up three stories, Sebastian (Claude Rains) as as various as Mario Bava and also multiple iris wipes (where films are not bound by those that the images crowding himself in a long tradition and Hunnam, who was so sensitive and because of the roof’s a cover for her attempt to Hitchcock. But while “Crimson a circular shape surrounded requirements, although the his brain can come to life. he deserves to be there. and heroic in del Toro’s “Pacific deterioration the hall is always infiltrate a Nazi cartel. Once Peak” launches associations by blackness hones in on emotions in his films are He creates intricate worlds, American heiress Edith Rim”) is also interested in filled with outside weather: in the house, she is dominated (Gothic/Romantic tradition, one small image). Del Toro always real. As actors from overwhelming viewers with Cushing (Mia Wasikowska), the Edith, but cedes ground to falling leaves or snow. Allerdale by Alexander’s mother Hitchcock, Shirley Jackson, is old-school in his framing before the advent of cinema heroine of “Crimson Peak,” Thomas, albeit with misgivings. Hall is a masterpiece of design, (Leopoldine Konstantin), a Murnau, Bava, Kubrick’s and camera moves and in (and the closeup) understood, saw the ghost of her dead Thomas marries Edith, and he, (Thomas E. Sanders was the monstrous Fraulein from hell. “The Shining,” The Brothers his understanding of spatial acting needed to be big enough mother when she was a child, Edith and Lucille go back to production designer) but also Both “Crimson Peak” and Grimm, “Jane Eyre”), it’s not relationships. There are times to fill a theatre. This did the shadow of its long fingers England to the family estate, of conception. The house “Notorious” feature ongoing just a tribute, it’s a hybrid all when Edith hugs Thomas, his not necessarily mean hollow creeping along the wall (a Allerdale Hall. creaks, moans and shifts. And visual motifs of tea cups and del Toro’s own. The images black coat taking up half the declaiming. It meant that their steal from “”). As a Allerdale Hall is when the that red clay is always, always key-chains. There are shots themselves have tremendous screen, and as the camera emotions had to be big enough young woman, living with her movie really begins, but those threatening to engulf them all. in “Crimson Peak” that mirror power: A blonde woman moves to the side Edith is to travel, to reach the cheap supportive father (a wonderful preliminary sections and the Edith, at sea in her new life “Notorious”. A close-up of sneaking through a dark house slowly engulfed by blackness. seats, to fit the scope of the Jim Beaver), she prefers books immersion into Edith’s world and intimidated by Lucille, the ubiquitous key-chain holding a candelabra; a black- The final act features a story. The cast of “Crimson to beaus, and is busy writing are equally important. America explores the house (by the end with the desired key lying haired woman stalking through couple of monologues, as Peak” understands that. a ghost story (“Ghosts are a is shown as a land of garden of the film the layout is clear, on the top of the heap, or an interior snowfall, carrying secrets pour out, and some They’re all gripping. metaphor for the past,” she parties, flickering gas lamps, essential to the suspense of the camera following a tea a tray of rattling tea cups; a audience members may find Watching del Toro’s films is a states). When silly women intellectual pursuits and family the finale). She is informed by cup as it is carried across the man in his workshop creating them too expository. But pleasure because his vision is sneer, “Jane Austen died a life. The colors are autumnal both Thomas and Lucille that room. Like Alicia Huberman toys that open their mouths again, in the long tradition evident in every frame. Best of spinster,” Edith replies coolly, mustards and oranges. Lucille there are rooms she must not in “Notorious,” Edith feels if to vomit silver balls. Edith of cinema, suspenseful films all, though, is his belief that “I’d rather be Mary Shelley and slashes through that mellow go into. Edith is surrounded she could just get a hold of sees horrors at night through often featured such final-act “what terrifies him will terrify Director and writer Guillermo del Toro is die a widow.” Edith’s bookish golden landscape in fiery- by secrets, with a husband she that key, and find the right doorways and down hallways. monologues. There is strong others.” He’s right. one of this year’s festival guests. isolation vanishes when the crimson dresses or heavy all- barely knows and a sister-in-

40 18th 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 13-17, 2016 • The Virginia Theatre 41 THURSDAY1PM FILMCREDITS that this movie is not one that seeks to use the one-time GRANDMA edginess of Tomlin’s comedic persona as a repository for (2015) Rated R Grandma sentimentality, but rather to set it afire and let it burn. This is Written and directed by a much neater film than those Paul Weitz in which Tomlin worked with Weitz’s comedy-drama creates impressively emotional ride director , but Produced by Andrew Miano and Paul Weitz By Glenn Kenny | Aug. 21, 2015 its commitment to emotional truth is as strong as any Altman CAST: movie you could name. And it Lily Tomlin as Elle “Grandma” is a modestly holds true to that commitment Andrew Miano (left) and Paul Weitz (right) will be guests at Ebertfest. as Sage scaled character comedy- with the introduction of Sage’s as Judy drama that winds up exerting mom, played beautifully by movie. For that reason alone the on it — are only a part of this as Olivia an almost shockingly strong Marcia Gay Harden. movie will attract controversy; really special movie. The other Laverne Cox as Deathy emotional force by the end. I Is this a political movie? it approaches women’s self- part is, yes, the humanity. as Karl walked into a screening of the Well, in the , any determination without even The way the movie shows the Nat Wolff as Cam film a mild skeptic, and I left movie in which abortion is the vaguest hint of apology. I toll taken by bonds sundered, as Chau nearly in tears, and grateful for treated as a standard medical don’t want to set the comments and the healing made possible where writer-director Paul Weitz procedure performed by section on fire, but I’ve got to by bonds that are restored, Running time: 79 minutes and a remarkable cast led by trained and concerned medical say I’m entirely sympathetic however tentatively. And there’s Lily Tomlin took me. professionals as opposed to to this perspective. But the also humor, and plenty of it. Print courtesy: Written and directed by Paul Something Not Done, or a politics — including the way While brief in running time, Weitz, whose well-intentioned Traumatic Life Ruining Moment, the movie doesn’t just “pass” “Grandma” is a small movie that but spotty track record (prior is by definition a political the “Bechdel Test” but gets 100 doesn’t feel slight. films include “Admission,” “Being Flynn,” and “About A Boy,” which for me ran a In Time For EBERTFEST 2016 gamut from mildly enjoyable to actively irritating) was part of Julia Garner (left) and Lily Tomlin (right) star in “Grandma.” what lowered my expectations, Department of Physics The Conservatory of “Grandma” opens with Tomlin’s non-gaminesque predicament: kind of screenplay in him. It’s At the outset I was kind of Central Illinois character, Elle, an aged poet pregnant, broke and scheduled incredibly literate — the movie concerned that the movie was with a strong feminist cult to have an abortion in about actually has more pertinent making a point of evoking Elle’s “The Community Music School” rep, apparently, being super eight hours. things to communicate about counterculture values the better unpleasant to Olivia (Judy Why Sage hasn’t gone to both the inner and outer life of to caricature them for comedic PRESENTS Greer), the younger girlfriend her own mom, from whom Elle a writer than the unfortunately- purposes. But no. The movie she’s dumping. Left alone is somewhat estranged, why much-bruited “The End of the examines those values, not The 26th Annual Playathon in her house, she sits in a Elle herself only has about Tour” does — and amusingly entirely uncritically, but it also An entire day of musical performances to raise commencement cap and gown forty bucks available at the literary, with one character largely ends up affirming them, funds to continue The Conservatory’s Mission of looking over old photographs; moment, why Elle and Sage dropping the word “solipsist” as particularly with respect to providing quality, accessible musical education to students of all ages in East Central Illinois. the shutting out of Olivia, set out in a perhaps-not- an epithet in a funny argument women’s rights. One of the film’s the viewer can infer, isn’t the impeccably maintained vintage scene. He divides the scenes as most striking scenes, titled April 16, 2016 10:30am - 4:30pm only loss Elle has recently Dodge: All these are questions chapters, with their titles typed “the ogre,” finds Elle, who’s suffered. Turning up at the answered in ways that are in lower case on a simulation of lived as a lesbian for longer Lincoln Square door is Elle’s curly-headed, best actually seen, rather than fine bond paper. Sage and Elle than her granddaughter’s been The Conservatory of Central Illinois gaminesque granddaughter described in a review. I really get to know each other better, alive, meeting up with an old Sage (Julia Garner). Sage is in a didn’t think Weitz had this even as Elle can’t get over the acquaintance, Karl, played by an Piano Strings Woodwinds fact that her granddaughter’s initially genial Sam Elliott. The Brass Voice Jazz Percussion never heard of “The Feminine scene’s almost a pocket history Guitar Youth Orchestra Band Mystique.” But Elle’s politics of the 1960s — its glories and Pre-School Through Adult The movie will attract controversy; it Early Childhood Music and aesthetics get shaken up its foibles. And Elliott gives a Outreach Programs Available approaches women’s self-determination at the same time as their quest performance that sets the movie Think and Do on emotional fire. It’s absolutely without even the vaguest hint of apology. for cash begins “rattling the physics.ncsu.edu Ad courtesy of Brand Fortner 100 N. Chestnut St., Suite 310 Champaign, IL 61820 skeletons” of the characters’ spectacular stuff. By the time 217-356-9812 conservatorycentralil.org respective pasts. this scene turns up, it’s clear

42 18th 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 13-17, 2016 • The Virginia Theatre 43

DepartmentofPhysics_EbertfestAd_3.5x4.625_Spring2016.indd 1 3/2/16 10:09 AM SP33418 Melissa Merli “ ” – Roger Ebert

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

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44 18th 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 13-17, 2016 • The Virginia Theatre 45 FILMCREDITS thursDAY 4PM This is the third film by I learned that they limited all the Polish twins. Michael the costumes, props and sets NORTHFORK directs, Mark acts, and Mark to shades of gray, and the and Michael co-produce and cinematographer, M. David (2003) Rated PG-13

NorthforkNorthfork co-write. Their first was the Mullen, has drained color COLOR eerie, disquieting “Twin Falls, from his film so that there Written by Michael Polish Idaho,” about Siamese twins is a bleakness here that gets and Mark Polish who deal with the fact that into your bones. Bleak fable explores death, man’s empty existence on earth one of them is dying. The Against this cold is the Directed by Michael Polish By Roger Ebert | July 11, 2003 next was “Jackpot,” about pale warmth of the angels, CAst: a man who tours karoke who are evoked by Irwin. as Walter O’Brien contests, looking for his To console himself for being as Father Harlan There has never been a been promised waterfront big break. Now “Northfork,” abandoned by his adoptive Douglas sebern as Mayor movie quite like “Northfork,” The movie is visonary and elegiac ... property on the lake to come. which in its visual strategy parents, he believes that he Claire Forlani as Mrs. Hadfield but if you wanted to put it on Most of the residents have presents Montana not as a is a lost angel, fallen to Earth Duel Farnes as Irwin a list, you would also include it looks like a portfolio of spaces so wide, already pulled out, but one scenic tourist wonderland, and abducted by humans Mark Polish as Willis O’Brien as Flower “Days of Heaven” and “Wings stubborn citizen opens fire on Michael Polish is one of this year’s but as a burial ground of who amputated his wings. of Desire.” It has the desolate so open, that men must wonder if they Evacuators, and another plans Ebertfest guests. foolish human dreams. Indeed, he has scars on his Hercules open spaces of the first, the have a role beneath such indifferent skies. to ride out the flood waters in Indeed, one of the subplots shoulder blades. The angels as Happy angels of the second, and his Ark, which does not have Forlani and Clark Gregg) involves the need to dig include Flower Hercules the feeling in both of deep two of everything but does on the grounds that he is up the bodies in the local (Daryl Hannah), who seems Running time: 103 minutes sadness and pity. The movie have two wives, a detail Noah defective. “You gave us a cemetery, lest the coffins neither man nor woman; Print courtesy: is visionary and elegiac, more such indifferent skies. two-man Evacuation Teams overlooked. sick child, Father,” they tell bob to the surface of the Cod (Ben Foster), a cowboy Paramount Classics a fable than a story, and The film is set in Montana travel the countryside in their Other lingerers include Father Harlan, the parish new lake; Walter O’Brien who never speaks; Happy frame by frame, it looks like a in 1955, as the town of fat black sedans, persuading Irwin (Duel Farnes), a pale priest (Nick Nolte). “He can’t (James Woods), one of the (Anthony Edwards), who is portfolio of spaces so wide, so Northfork prepares to be the lingering residents to young orphan who has stand the journey.” The priest Evacuators, tells his son Willis blind and mute, but perhaps open, that men must wonder submerged forever beneath leave. The team members have been turned back in by his cares for the child himself, O’Brien (Mark Polish) that if can see something through if they have a role beneath the waters of a dam. Three a motivation: They have all adoptive parents (Claire although the lonely little kid they don’t move the coffin of the bizarre glasses he wears, is able to conjure up company the late Mrs. O’Brien, “When with their multiple lenses, they are in “Wings of Desire,” by imagining four angels who this small town becomes the and Cup of Tea (Robin Sachs), and only those who cannot come to console him. Or are biggest lake this side of the who talks enough to make up believe think Irwin has they imaginary? They are Mississippi, your mother will for Happy. dreamed them up. real for little Irwin, and that be the catch of the day.” Of these the most moving “Northfork” is not an should be real enough for us. Funny? Yes, and so is the is Flower Hercules, who seems entertaining film so much The town evokes the empty, soup scene in the diner, but to feel Irwin’s loneliness and as an entrancing one. There lonely feeling you get when you don’t laugh out loud a pain as her/his own. Daryl were people at Sundance, you make a last tour of a lot in this film because you Hannah evokes a quality of racing from one indie hipness home you have just moved fear the noise might echo care for the helpless which to another, who found it too out of. There is a scene where under its limitless leaden makes her a tender guardian slow. But the pace is well the six Evacuators line up sky. This is like a black and angel. Since the Evacuators chosen for the tone, and the at the counter in a diner to white film made in color. In have a stock of angel’s wings tone evokes the fable, and the order soup. “Bowl or cup?” some shots, only the pale which they sometimes offer fable is about the death of a asks the waitress, and as they skin tones contain any color as inducements to reluctant town and of mankind’s brief consider this choice with at all. In talking with the homeowners, the thought purchase on this barren plat grave poker faces, we get the after the film persists that angels are meant of land, and it is unseemly feeling that only by thinking premiered at Sundance 2003, to be real in the film, just as to hurry a requiem. The very hard about soup can film suggests that of the they avoid exploding in a thousands who obeyed the of madness. One of call “Go West, young man!” Harlan’s final church services The town evokes the empty, lonely feeling some simply disappeared is conducted after the into the wilderness and were back wall has already been you get when you make a last tour of buried, as Northfork is about removed from his church, and a home you just moved out of. to be buried, beneath the the landscape behind him emptiness of it all. looks desolate. “Northfork” is the story of a town preparing for its impending doom.

46 18th 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 13-17, 2016 • The Virginia Theatre 47 HOW SHOULD I CAST MY INDIE MOVIE?

DO YOU WANT YOUR MOVIE TO BE GOOD?

Not really Yes! It’s my passion project

CRAIGSLIST LIKE, HOW GOOD?

Really f-ing good Serious tear-jerker You have your doubts then realize it’s a masterpiece

BESIDES CHASES AND WHO’S CRYING? No EXPLOSIONS, DOES ANYONE ACTUALLY SPEAK IN YOUR FILM? CHARACTER DRIVEN? Yes Very nuanced The audience My crew YOU’RE GOING TO NEED SERIOUSHOW TALENT TO SHOULD I CAST MY INDIE MOVIE? IRONIC? STAND UP TO ALL THAT IS YOUR MOVIE ABOUT IS YOUR CREW JUST ACTION FEELINGS? A BUNCH OF BABIES? BECAUSE THE DO YOU WANT YOUR MOVIE AMATEUR THESPIANSYou could rely on a quiz, leave it TO BE GOOD? Totally ARE STUMBLING to fate, or wait for a sign from the TALK TO SAGindie Actual babies, they came OVER THEIR LINES? Not really Yes! It’s my passion projecthighly recommended universe – but if you want to end up with aTALK professional TO SAGindie quality film, CRAIGSLIST LIKE, HOW GOOD? THAT ISN’T EVEN LEGAL, you’ll need to cast experienced WHO ARE YOU? Wait...can antalent. indie As a FREE resource, THAT’S NOT A MOVIE, Really f-ing good Serious tear-jerker You have your doubts then realize it’s a filmmakerSAGindie hire guides filmmakers like you Hell no Happy, sad, angry, masterpiece THAT’S A MONSTER professional actors? TRUCK RALLY and scared through the SAG-AFTRA signatory BESIDES THE CAR CHASES AND WHO’S CRYING? No EXPLOSIONS, DOES ANYONE ACTUALLY SPEAK IN YOUR FILM? CHARACTER DRIVEN? process so you can cast the talent SO WHAT’S IT ABOUT? Yes YOU’RE GONNA NEED (HEAD SMACK)you need, regardless of budget. Yeah! Exactly GREAT TALENT Very nuanced The audience My crew TALK TO SAGindie YOU’RE GOING TO NEED Be Independent. Act Professional. SERIOUS TALENT TO Um... IRONIC? STAND UP TO ALL THAT IS YOUR MOVIE ABOUT IS YOUR CREW JUST sagindie.org BECAUSE THE Coming ACTION FEELINGS? A BUNCH OF BABIES? TALK TO SAGindie AMATEUR THESPIANS INTERESTING, Totally GOOD LUCK ARE STUMBLING TALK TOTALK SAGindie TO SAGindie Actual babies, they came OVER THEIR LINES? WITH THAT highly recommended TALK TO SAGindie THAT ISN’T EVEN LEGAL, WHO ARE YOU? Attractions Wait...can an indie You could THAT’Srely NOTon Aa MOVIE, quiz, leave it to fate, or wait for a sign from the universe – but if you want to end up with a Hell no Happy, sad, angry, filmmaker hire professionalTHAT’S quality A MONSTER film, you’ll need to cast experienced talent. As aFREE professional resource, actors? SAGindie guides filmmakers like TRUCK RALLY and scared you through the SAG-AFTRA signatory process so you can cast the talent you need, regardless of budget. SO WHAT’S IT ABOUT? Be Independent. Act Professional. sagindie.orgYOU’RE GONNA NEED (HEAD SMACK) Be Independent. Act Professional. ILL TV is your source for Independent GREAT TALENT Yeah! Exactly TALK TO SAGindie Um... Lens, American Experience, Frontline, TALK TO SAGindie INTERESTING, and other PBS programs offering the best GOOD LUCK W TALK TO SAGindie WITH THAT in documentary film, as well as locally produced

You could rely on a quiz, leave it to fate, or wait for a sign from the universe – but if you want to end up with a programs and content offering perspective from professional quality film, you’ll need to cast experienced talent. As aFREE resource, SAGindie guides filmmakers like you through the SAG-AFTRA signatory process so you can cast the talent you need, regardless of budget. those living in our area. Be Independent. Act Professional. sagindie.org Be Independent. Act Professional. Coming soon: Independent Lens: Democrats follows two top political operatives who have been appointed to lead Zimbabwe through the reform process. 9 PM on Monday, April 18.

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48 18th 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 13-17, 2016 • The Virginia Theatre 49

thursday8:30PM Film screening sponsored by: StEak ‘n ShakE FILMCREDITS The Third TheThe Third Third Man Man Man (1949) Not rated

Directed by Carol Reed Reed’s convention-defying film captures post-war ennui Written by Graham Greene

By Roger Ebert | Dec. 8, 1996 CAst: as Harry Lime as Holly Martins Has there ever been a into French, American, British as Anna Schmidt film where the music more and Russian zones, each with perfectly suited the action its own cadre of suspicious Reed defied convention by shooting entirely Running time: 104 minutes than in Carol Reed’s “The officials. Into this sinkhole Third Man”? The score was of intrigue falls an American on location in Vienna, where mountains of Print courtesy: performed on a zither by innocent: Holly Martins rubble stood next to gaping bomb craters. Rialto Pictures Anton Karas, who was playing (Joseph Cotten), alcoholic in a Vienna beerhouse one author of pulp Westerns. He night when Reed heard him. has come at the invitation of insisted on Karas’ zither music The sound is jaunty but his college chum Harry Lime. advises Holly to take the next Orson Welles, who plays Harry Lime, makes one of the most famous entrances and speeches in film history in “The Third Man.” without joy, like whistling But Lime is being buried when train home. But Harry had a (“The Third Man Theme” was in the dark. It sets the tone; Martins arrives in Vienna. girl named Anna (Alida Valli), one of 1950’s biggest hits). the action begins like an How did Lime die? That who Holly sees at Lime’s Reed and his Academy undergraduate lark and then question is the engine that grave, and perhaps she has Award-winning Dr. Winkel (Erich Ponto), the the meow of the cat in the The emotional heart of the reveals vicious undertones. drives the plot, as Martins some answers. Certainly Holly cinematographer, Robert ratlike Popescu (Siegfried doorway, the big shoes, the movie is Holly’s infatuation The story begins with a plunges into the murk that has fallen in love with her, Krasker, also devised a Breuer). Even a little boy defiant challenge by Holly, with Anna, who will love spoken prologue (“I never Lime left behind. Calloway although his trusting Yankee reckless, unforgettable with a rubber ball looks like the light in the window, and Harry and be grateful to him way out. Presumably there knew the old Vienna, before (Trevor Howard), the British heart is no match for her visual style. More shots, I a wizened imp. The only then the shot, pushing in, no matter what she learns. would be no lights in the the war ... ”). The shattered officer in charge, bluntly says defenses. suspect, are tilted than are trusting faces are those of on Lime’s face, enigmatic The scenes between Holly Vienna sewers, but there are postwar city has been divided Lime was an evil man, and “The Third Man” (1949) was held straight; they suggest innocents like the hall porter and teasing, as if two college and Anna are enriched by strong light sources just out made by men who knew the a world out of joint. There (Paul Hoerbiger) who tells chums had been caught tiny details, as when they of sight behind every corner, devastation of Europe at first are fantastic oblique angles. Holly, “There was another playing a naughty prank. visit Harry’s apartment and throwing elongated shadows, hand. Carol Reed worked for Wide-angle lenses distort man ... a third man ... ” and The famous speech comes she opens a drawer without backlighting Harry and his the British Army’s wartime faces and locations. And the the beefy Sgt. Paine (Bernard during an uneasy ride on a looking — because she already pursuers. documentary unit, and the bizarre lighting makes the Lee), Calloway’s aide, who giant Ferris wheel; at one knows what will be inside. The final scene in “The screenplay was by Graham city into an expressionist levels the drunken Holly with point, Lime slides open the Or the way she sometimes Third Man” is a long, elegiac Greene, who not only wrote nightmare. (During a stakeout a shot to the chin and then door of the car they are slips and calls Holly “Harry.” sigh. It almost did not exist. about spies but occasionally for Lime, a little balloon apologizes. Even the resident riding in, and Holly uneasily Everyone in the movie has Selznick and Greene originally acted as one. Reed fought man wanders onto the scene, exiles are corrupt; Crabbin wraps an arm around a post. trouble with names. Holly wanted a happy ending. with David O. Selznick, his and his shadow is a monster (Wilfrid Hyde-White), the Harry tries to justify himself: calls Calloway “Callahan,” and (Greene originally wrote, American producer, over three stories high). Vienna head of the discussion group, “You know what the fellow Dr. Winkle insists on “VINK- “... her hand was through every detail of the movie; in “The Third Man” is a more chatters about culture while said: In Italy for 30 years ell!” And the name on Harry his arm”). Reed convinced Selznick wanted to shoot on particular and unmistakable smoothly maneuvering his under the Borgias they had Lime’s tombstone is wrong, Greene he was wrong. The sets, use an upbeat score and *place* than almost any other mistress out of sight through warfare, terror, murder and too. movie ends as it begins, in a cast Noel Coward as Harry location in the history of the doors and up stairs. bloodshed, but they produced The chase sequence in “The cemetery, and then Calloway Lime. His film would have movies; the action fits the As for Harry Lime: He allows Michelangelo, Leonardo da Third Man” is another joining gives Holly a ride back to been forgotten in a week. city like a hand slipping on a Orson Welles to make the most Vinci and the Renaissance. of the right action with the town. They pass Anna walking Reed defied convention by glove. famous entrance in the history In Switzerland they had right location. Harry escapes on the roadside. Holly asks shooting entirely on location Then there are the faces: of the movies, and one of the brotherly love — they had 500 into the sewer system like to be let out of the jeep. He in Vienna, where mountains Joseph Cotten’s open, naive most famous speeches. By the years of democracy and peace, a cornered rat, and Reed stands under a tree, waiting of rubble stood next to gaping face contrasts with the time Lime finally appears we and what did that produce? edits the pursuit into long, for her. She walks toward bomb craters, and the ruins of “friends” of Harry Lime: have almost forgotten Welles The cuckoo clock.” (Greene echoing, empty sewer vistas, him, past him, and then out empire supported a desperate the corrupt “Baron” Kurtz is even *in* the movie. The says this speech was written and closeups of Lime’s sweaty of frame, never looking. After black market economy. And he (Ernst Deutsch); the shifty sequence is unforgettable: by Welles.) face, his eyes darting for a Film crew member Angela Allen is one of this year’s Ebertfest guests. continued on page 52

50 18th 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 13-17, 2016 • The Virginia Theatre 51 The Third Man continued from page 51 it is our honor to cater ebertfest a long pause, Holly lights a movies. I saw it first on a cigarette and wearily throws “The Third Man” reflects the optimism rainy day in a tiny, smoke- away the match. Joseph filled cinema on the Left Bank l.a. gourmet catering Cotten recalled later that he of Americans and the bone-weariness in . It told a story of thought the scene would end existential loss and betrayal. sooner. But Reed kept the of Europe after the war. It was weary and knowing, with an inherent appreciation for the beauty and rich camera running, making it and its glorious style was an an unusually long shot, and act of defiance against the history of this area we are bringing modern American absolutely perfect. of “Casablanca.” Both have with the resistance leader to corrupt world it pictured. “The Third Man” reflects the heroes who are American help in his fight, while in “The Seeing it, I realized how many celebrations back to the farm it is with great optimism of Americans and exiles, awash in a world of Third Man” Anna remains loyal Hollywood movies were like the bone-weariness of Europe treachery and black market to a rat. Yet Harry Lime saved the pulp Westerns that Holly excitement that we announce after the war. It’s a story intrigue. Both heroes love a Anna, a displaced person who Martins wrote: naive formulas about grownups and children: woman battered by the war. faced certain death. Holly will supplying happy endings for Adults like Calloway, who has But “Casablanca” is bathed never understand what Anna passive consumption. I read seen at first hand the results in the hope of victory, while did to survive the war, and the other day that they plan of Lime’s crimes, and children “The Third Man” already Anna has absolutely no desire to remake “The Third Man.” pear tree estate like the trusting Holly, who reflects the Cold War years to tell him. Do you think Anna will cave believes in the simplified good of paranoia, betrayal and the Of all the movies I in to Holly — or will she L.A. Gourmet's beautiful event venue and evil of his novels. Bomb. The hero doesn’t get have seen, this one most remain true to her bitter “The Third Man” is like the girl in either movie — but completely embodies the cynicism and unspeakable the exhausted aftermath in “Casablanca,” Ilsa stays romance of going to the knowledge? Pear Tree Estate offers a beautiful canvas insid and out for your special event to be completely unique and easily planned with Do you know what the weather annsite coordinator, elegant lighting, linens and Champaign-Urbana Mass Transit District is going to be like chairs. It is a culmination of the highest quality catering, service staff and a premier venue. Gotta Get There? after the show? Let MTD Do the Driving. Nine Years ago, the Murray sisters opened L.A. Gourmet Catering to share Derick their passion for incredible food and frequent service unforgettable events with Central Illinois. low fare/free transfers While the staff specializes in creating does. custom events in unusual spaces, they sat. or sun. all day passes are excited for the opportunity to create annual/monthly passes available Our Weather App personalized events in a unique venue user-friendly trip tools full of modern amenities . lots of easy-to-use apps has you covered. get to sports, shopping & fun! w w w . l a g o u r m e t c a t e r i n g . c o m

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52 18th 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 13-17, 2016 • The Virginia Theatre 53 FRIDAY1PM FILMCREDITS work together. Now they are fighting a different war. They DISTURBING are breaking an old story and birthing a new one. THE PEACE DisturbingDisturbing the the Peace Peace They were heroes in the story that’s called war. As pacifists (2016) Rated N/A they are outcasts. They stopped being able to hear the voices Directed by Documentary weaves narrative about human nature, history of hate. Instead they turned Stephen Apkon and Andrew to Gandhi, Mandela and Martin Young By Ben Cheever | March 24, 2016 Luther King, Jr. This sort of Producer and co-director Stephen Apkon (left) and co-director and cinematographer CASt: thing doesn’t happen often in Andrew Young (right) will be guests at Ebertfest. Chen Alon as himself Waging Peace concrete wall that gives way for them long ago. The Stephen Apkon has a this world, but unbeknownst to Sulaiman Khatib as himself A crowd of Palestinians to two lines of barbed wire former combatants call out reputation for turning fairy many of us, it’s happening in holding over-sized puppets in reinforced fence. This dog-run to them and invite them to tales into stories and stories Israel and Palestine. has watched the conflict The grandfather was shot. Running time: 86 minutes the air is marching at the wall like enclosure is the obvious join their non-violent band of into buildings and buildings These tough men and women between the Israelis and the Years later he would watch his that separates them from Israeli weak link in fence meant to brothers, explaining that they into movie theaters. When all chanced on the same truth. Palestinians. And mainstream 14-year-old brother shot by land. They’re making a lot of separate the two people. understand that transformation Apkon came to Pleasantville, And they knew it was good. media has only perpetuated the Israeli army for going out noise. No rifles can be seen, As the parades converge and can happen even in moments New York, to start the Jacob They also knew that they were this narrative of violence and during a curfew. but Palestinian fighters often call to each other, it is into of violence because “it Burns Film Center few of us in the fight of their life. They conflict. Children of both narratives conceal their weapons. Some this dog kennel that a band of happened to us.” Often in these thought he had a prayer. An call themselves Combatants Therefore it’s profoundly grew up to become heroes in of these men have a history as Israeli soldiers pour themselves. demonstrations soldiers will art house in Westchester? And for Peace, and this movie tells disorienting when Apkon and their own national struggle soldiers in the war that never The soldiers are in uniform. arrest the non-violent resisters. started just when the storied their stories. The movie is a his co-director Young, zoom in — elite fighters in the Israeli ends. The soldiers carry guns and The charge: “Disturbing the theaters in were story about old stories that are on Arab freedom fighters and Defense Forces and heads of On the far side of the wall greet the nonviolent protesters Peace.” dying off. broken, and new ones that are Israeli combat veterans and find local cells in the Palestinian other people are waving with a stun grenade. Caged This fresh and intimate But Steve didn’t understand forming in the heart. — to one’s confusion — that guerilla militia. Along the way, puppets and making a racket. and outnumbered, as odd as documentary by a first-time why it wouldn’t work. Apkon Movies are meant to draw they dress, look and think alike. amidst war, they each came to The men are all in mufti, but it sounds, the soldiers are the director and his veteran partner might have an optimism that an audience. Anyone who’s What’s even more confusing is the realization that while they we know that many are Israeli ones in danger. has changed the world I know. borders on insanity, but often been stuck in traffic behind that the personal histories of love their country and people, by his wife. He cradles his soldiers. This is Israel after all. Unarmed and disorganized, Some stories we inherit. Some he’s right. Steve Apkon gave a line of drivers craning their the Palestinian freedom fighters violence could only lead to more laptop against his chest. She The crowds converge at the puppet-wielding citizens stories we invent ourselves. We life to an institution that rubbernecks for a glimpse mirror those of the . violence. No one can win. drinks her coffee. She’s not a place where the border were free to write their own live in these stories. Change changed thousands of lives. of blood knows that carnage The “crazy Zionist” A group of Israeli soldiers buying. is a narrow no-man’s land, story. The uniformed soldiers those stories and we change He started a community in a draws a crowd. This is just grandfather of tank commander, sent a letter to their One of the Combatants for separated by a towering had had their story written our world. part of the world where there one of the many factors that Chen Alon, left for government. They would do Peace muses about why they was no such thing. Opened in make “Disturbing The Peace” so Palestine in the 1930s. “All his their utmost to defend the state are unpopular. They were 2001, the film center has grown precious. brothers and sisters and cousins of Israel, but they’d had enough threatening everybody’s story, its own community and along Conflict is at or near the and aunts ... none of them of conquest. They would no he said. “It is indispensable for the way, engaged filmmakers heart of every narrative. And survived.” longer serve as part of an a fighting system to deny the like Ron Howard and Jonathan every nation every person In 1948, the boy who would occupying army. The reaction humanity of the other side.” Demme, among many others. has a narrative. It’s us against grow into freedom fighter Jamil was explosive. The former “Something there is that In Andrew Young, Apkon the others. We are good. Qassas and his family were heroes were accused of lacking doesn’t love a wall.” That’s found a more than able partner. The others? Not so much. forced out of their village. The conscience. They were “an Robert Frost, but the wisdom An exceptionally talented For decades now, America grandfather refused to move. embarrassment to the state of of an American poet is echoed cinematographer, Young Israel and the Jewish people.” in the courage of a Palestinian has directed or shot many Palestinians who were turned pacifist. After watching documentaries, including the This fresh and intimate documentary by also fed up with the cycle of “Disturbing the Peace,” we see Academy Award nominated violence, learned of non-violent how much we look like that “Children of Fate.” Together, a first-time director and his veteran partner movements around the world, unfortunate band of soldiers on the two men turned their lens mostly while sitting in Israeli the border. We are the prisoners on one of the most challenging has changed the world I know. Some stories prisons, and embraced the of ourselves. When we shuck of subjects — the intractable we inherit. Some stories we invent ourselves. philosophy after finding that off our national narratives, it Israeli-Palestinian conflict. hunger strikes change more becomes impossible to deny The subjects of the film are We live in these stories. Change those minds than bombs do. It wasn’t the humanity of the other side. an unlikely group. Once they easy for them within their In the rubble of these antique were sworn enemies with blood stories and we change our world. society either. One veteran of stories, we can plant some Protestors march in “Disturbing the Peace,” a documentary about the Israeli-Palestine conflict. on their hands. Now they many years in jail is castigated peace.

54 18th 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 13-17, 2016 • The Virginia Theatre 55 FRIDAY4PM FILMCREDITS subjective and profoundly interior world through objective visual l'inhumaine means. Film historians have labelled (1924) Not Rated L’inhumaineL’inhumaine this style “Impressionist” but the term is lazy and misleading. Written and directed by L’Herbier’s films in no way resemble Marcel L’Herbier the work of the Impressionist Edited by Pierre Mac Orlan An absurd national treasure that endures through time painters in the way those of a Realist filmmaker like Jean Renoir CAst: By David Melville, Courtesy of Senses of Cinema website | September 2015 Georgette Leblanc as Claire so often do. The prevailing mood Lescot as “L’inhumaine” opens is closer Jaque Catelain as Einar Norsen “On leaving the theatre one Dernière á Marienbad,” 1961), to Surrealism or even Abstraction. Philippe Hériat as Djorah de has the impression of having or maybe Marguerite Duras with The aim was less to tell a story than to evoke The diva’s coterie of admirers Nopur witnessed the birth of a new “India Song” (1975), perhaps? gathers for a banquet in her Léonid Walter de Malte as art.” - Adolf Loos1 Films whose hypnotic, languorous a subjective and profoundly interior world mansion (a set designed by the Wladimir Kranine surface are not just a matter of future directors Claude Autant- Fred Kellerman as Frank Mahler What to say about a film that, style but also the very substance through objective visual means. Lara and Alberto Cavalcanti). The 90 years on from its release, of the works themselves. dining table stands on a pontoon Running time: 135 minutes is still so far ahead of most of Of course, “L’inhumaine” must floating in a pool, with a family The stars, Jaque Catelain and Georgette Leblanc, in “L’inhumaine.” Print courtesy: what passes for cinema today? be one of the most absurd Great Hindu maharajah wants her to Georgette Leblanc stars in of geese swimming happily in and Flicker Alley, LLC “L’inhumaine” was made by Marcel Movies ever made. The ludicrous take the throne as his queen. An “L’inhumaine” and also financed out of shot. An army of footmen L’Herbier in 1924; no other silent plot by L’Herbier and the best- idealistic young scientist (played it. She was not a film actress but wear painted masks so they can on his back amid the undulating shifting clash of one geometric film, perhaps, could match its selling author Pierre Mac Orlan by L’Herbier’s close friend and an opera diva, famous for creating remain “deaf and always smiling,” black-and-white lines of the floor. form with another is compulsive, sheer stylistic and imaginative concerns a femme fatale and her protégé Jaque-Catelain) loves her the lead role in Claude Debussy’s say the inter-titles. The ideal He juggles, with his legs, a drum almost hypnotic. (Far more so daring. Since the coming of sound, four suitors. A crass American purely and poetically, for herself. tuneless but atmospheric opera audience, perhaps, for the film we shape painted in elongated black- than the question of which only a few directors have even showman wants her to become None of these relationships is at “Pelléas et Mélisande” in 1902. are about to behold? and-white diamond patterns. Seen attempted what L’Herbier pulled off the world’s greatest star. A crazed all convincing, least of all that of She was, for two decades, the wife After dinner, an acrobat lies in an overhead shot, the ever- continued on page 58 with such flair: Alain Resnais with Russian mystic wants her to the lady and the scientist (which and muse of the Belgian Symbolist “Last Year in Marienbad” (“L’Année inspire a new revolution. A sinister wins out). poet Maurice Maeterlinck, on whose play that opera was based. She had no inkling of how SPECIAL PERFORMANCE to act for the camera and her performance is predictably stilted and “operatic.” Moreover, she was the Alloy Orchestra 55 years old, almost 30 years older than her delicate and androgynous Alloy Orchestra is a three-man musical ensemble, writing leading man. “L’inhumaine” seems and performing live accompaniment to classic silent films. designed to give the term “vanity Working with an outrageous assemblage of peculiar objects, project” a bad name. they thrash and grind soulful music from unlikely sources. Granted that “L’inhumaine” Performing at prestigious film festivals and cultural centers ought not — by any sane in the U.S. and abroad (The Telluride Film Festival, The standards — to be a great film, Louvre, Lincoln Center, The Academy of Motion Pictures, our wonder lies in discovering the National Gallery of Art), Alloy has helped revive some how and why it is one. It is of the great masterpieces of the silent era. essential that cinema, for L’Herbier and his team, was not about An unusual combination of found percussion and state- narrative. Writing of L’Herbier and of-the-art electronics gives the Orchestra the ability to his more famous and bombastic create any sound imaginable. Utilizing their famous “rack contemporary Abel Gance, Dudley of junk” and electronic synthesizers, the group generates Andrew points out how “their real beautiful music in a spectacular variety of styles. They concern all along was with style, can conjure up a French symphony or a simple German bar visual tempo, subjective states, band of the ’20s. The group can make the audience think it delicate textures and private TERRY DONAHUE (junk percussion, accordion, musical saw, banjo) is being attacked by tigers, contacted by radio signals from sensibility.”2 The aim was less KEN WINOKUR (director, junk percussion and clarinet) Mars or swept up in the Russian Revolution. ROGER MILLER (synthesizer, percussion) Fernand Leger posing on the set of L’inhumaine 1924. to tell a story than to evoke a

56 18th 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 13-17, 2016 • The Virginia Theatre 57 L’inhumaine continued from page 57 man the diva may or may not important, perhaps — the way in agree to marry!) Viewers new to which we as an audience choose “L’inhumaine” should be warned Frankly, anyone who is not hooked by this to observe them. For Oscar Wilde, that much of it is given over to point is unlikely to enjoy “L’inhumaine.” “it is the spectator, and not life, languid atmospherics of this kind: that art really mirrors.”4 Wilde an Italian VHS copy, in which I The rest is a dreamlike succession of one died a quarter of a century too first saw the film, runs a full hour early to see “L’inhumaine,” but shorter than the official restored feverishly extreme décor after another. his ghost would definitely have print. The continuity is a bit approved. awkward, but at no point does it Endnotes ever feel rushed. is a dreamlike succession of one world of pastiche, parody and 1. Donald Albrecht, Designing The juggling ends. A muscular feverishly extreme décor after quotation. Its flat characters Dreams: Modern Architecture in The City of Champaign welcomes hunk wanders in and runs a another. It culminates in the provide no stability; they are the Movies, Thames and Hudson, flaming torch sensuously over his young scientist’s gleaming abstract but puppets in the hands in London, 1987, p. 50. bare skin. In extreme close-up, laboratory (designed by Fernand the hands of an unpredictable, 2. Dudley Andrew, Mists of Regret: Ebertfest 2016 3 Culture and Sensibility in Classic he pushes this distinctly phallic Léger) where the dying diva is perhaps even mad storyteller. French Film, Princeton University object repeatedly in and out of his saved by a miracle of science. As That may or may not be Press, Princeton NJ, 1995, p. 34. attendees to Downtown Champaign. mouth in an image that would not Alan Williams rightly warns: what we want from cinema. The 3. Alan Williams, Republic of Images: go amiss in Jean Genet’s oneiric For the coherence of a fascination of “L’inhumaine” does A History of French Filmmaking, and erotic “Un chant d’amour” stable fictional world with not lie in anything its characters Harvard University Press, Cam- bridge MA & London, 1992, p. 105. (1950). Frankly, anyone who is not suitably “round” characters say or do, but in the worlds they 4. Oscar Wilde, ‘The Preface’ to The Be sure to check out what’s happening hooked by this point is unlikely … “L’inhumaine” substitutes inhabit, the way those worlds Picture of Dorian Gray, Penguin to enjoy “L’inhumaine.” The rest a fundamentally incoherent are created for us and — most Classics, London, 2003, p. 4. in our incredible Center City, just steps from your seats between fi lms. We encourage you to visit our many restaurants, shopping destinations and other attractions throughout the City.

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

58 18th 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 13-17, 2016 • The Virginia Theatre 59 friDAY9PM FILMCREDITS by the presence of a voodoo woman (Diahann Carroll) whose eve's bayou magic may or may not be real. Certainly Aunt Mozelle’s gift (1997) Rated R Eve’sEve’s Bayou Bayou is real; her prophecies have a terrifying accuracy, as when Written and directed by she tells a woman her missing Kasi Lemmons son will be found in a Detroit A tale of memory and a young girl understanding the world hospital on Tuesday. But CAst: Mozelle cannot foresee her own -Bell as Eve By Roger Ebert | Nov. 7, 1997 Batiste life: “I looked at each of my Meagan Good as Cisely Batiste husbands,” she says, “and never as Roz Batiste “Memory is a selection of filtered through the eyes saw a thing.” All three died. samuel L. Jackson as Louis images, some elusive, others of a young girl who doesn’t “Eve’s Bayou,” one of the very best films So when a handsome painter Batiste printed indelibly on the brain. understand everything she sees (Vondie Curtis Hall) comes into The summer I killed my father, — and filtered, too, through of the year, is the debut of its writer the neighborhood and Mozelle Running time: 109 minutes I was 10 years old.” With those the eyes of her older sister, and knows she has found true love Director and writer Kasi Lemmons is one of this year’s festival guests. opening words, “Eve’s Bayou” through the eyes of an aunt and director, Kasi Lemmons. at last, she is afraid to marry Print courtesy: coils back into the past, into who can foretell everyone’s him, because it has been ChubbCo Film Co. the memories of a child who future except her own. unfold in a film of astonishing brink of adolescence, and the prophesied that any man who grew up in a family both gifted As these images unfold, we chance too many. And we want that there is more than one maturity and confidence; “Eve’s apple of her father’s eye; Eve marries her will die. and flawed, and tried to find are drawn into the same process to understand what happened explanation; “Eve’s Bayou” Bayou,” one of the very best watches unhappily at a party, The film has been her own way to the truth. Eve has gone through: We, too, late one night between the studies the way that dangerous films of the year, is the debut and afterward asks her father, photographed by Amy Vincent The words explain the method are trying to understand what father and Eve’s older sister, in emotions can build up until of its writer and director, Kasi “Daddy, why don’t you ever in shadows and rich textures, of the film. This will not be happened in that summer of a moment that was over before something happens that no one Lemmons. She sets her story dance with me?” Living with where even a sunny day a simple-minded story that 1962, when Eve’s handsome, it began. is responsible for and that can in Southern Gothic country, in them is an aunt, Mozelle (Debbi contains dark undertones; surely breathlessly races from A to B. dashing father — a doctor We want to know because the never be taken back. the bayous and old Louisiana Morgan), who has lost three she looked at the Bergman films It is a selection of memories, and womanizer — took one film makes it perfectly possible All of these moments traditions that Tennessee husbands, “is not unfamiliar photographed by Williams might have been with the inside of a mental in preparing her approach. too complex and thoughtful familiar with, but in tone and hospital” and has the gift of There is a scene of pure magic as to try to reduce the episode to style she earns comparison with telling fortunes. Mozelle tells Eve the story of the a simple formula like sexual the family dramas of Ingmar Dr. Batiste is often away from death of one of her husbands, abuse; what happens lasts Bergman. That Lemmons can home on house calls — some of who was shot by her lover; only a second, and is charged make a film this good on the them legitimate, some excuses the woman and the girl stand with many possibilities of first try is like a rebuke to for his philandering. He is a before a mirror, regarding the misinterpretation, all of them established filmmakers. weak but not a bad man, and scene from the past, and then prepared for by what has gone The story is told through not lacking in insight: “To a Mozelle slips out of the shot and before. the eyes of Eve Batiste, played certain type of woman, I am a reappears in the past. “Eve’s Bayou” resonates with fierce truthfulness by hero,” he says. “I need to be a There is also great visual in the memory. It called me Jurnee Smollett. Her family is hero.” On the night her father precision in the scenes back for a second and third descended from a slave, also did not dance with her, Eve involving the confused night viewing. If it is not nominated named Eve, who saved her steals away to a barn and falls when the doctor comes for Academy Awards, then master’s life and was rewarded asleep, only to awaken and see home drunk, and Cisely goes the academy is not paying with her freedom and with 16 her father apparently making downstairs to comfort him. attention. For the viewer, it is a children. love to another man’s wife. Eve What happened? We get two reminder that sometimes films In 1962, the Batistes are tells Cisely, who says she was accounts and we see two can venture into the realms of the premiere family in their mistaken, and the doubt over versions, and the film is far poetry and dreams. district, living in a big old this incident will echo later, mansion surrounded by rivers on another night when much and swampland. Eve’s father depends on whether Cisely was Louis (Samuel L. Jackson) is herself mistaken. For the viewer, it is a reminder that the local doctor. Her mother Lemmons surrounds her Roz (Lynn Whitfield) is “the characters with a rich setting. sometimes films can venture into the most beautiful woman I ever There is a marketplace, have seen.” Her sister Cisely dominated by the stalls of realms of poetry and dreams. (Meagan Good) is on the farmers and fisherman, and Roz (Lynn Whitfield) and Eve Batiste (Jurnee Smollett-Bell) in “Eve’s Bayou,” a film about memories and a family’s complicated relationships.

60 18th 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 13-17, 2016 • The Virginia Theatre 61 Sat u r DAY11am FILMCREDITS FORCE OF ForceForce of of Destiny Destiny DESTINY (2015) Not Rated

Written and directed by Cox’s film mirrors his personal journey with cancer Paul Cox

By Richard Phillips, Courtesy of wsws.org (World Socialist Web Site) | Nov. 16, 2015 CAst: as Robert In the fall of 2015, film edited interview he discusses director Paul Cox appeared at the background and nature Jacqueline McKenzie “The film has a fantastic cast and has as Hannah special screenings throughout of his new film, his artistic Australia for “Force of approach, concerns about all the hallucinations and madness that shahana Goswami as Maya Destiny,” his first dramatic militarism and the commercial comes with cancer treatment.” feature in seven years. The and cultural pressures on terry Norris semi-autobiographical work contemporary filmmakers. as Derek was inspired by Cox’s ongoing struggle with liver cancer. Richard Phillips: Could you for a while it looked like I and since then it has been Actress Jacqueline McKenzie and Actor David Wenham in “Force of Destiny.” Running time: 92 minutes The Dutch-born, Australian- begin by explaining why you wouldn’t survive. I waited gathering momentum. based writer and director, was decided to make “Force of for seven-and-a-half months, We’ve been travelling to all Print courtesy: diagnosed in early 2009 with Destiny?” slowly going down the drain, the screenings and doing Q&As, Unfortunately the cancer are similar mediums, and I There was the Russian man Illumination Films the disease and received a liver Paul Cox: Having a liver and then on Christmas Day, which is a bit exhausting, has come back and has now think we should be making who came and sang for his wife transplant late that year. transplant was an extraordinary during Christmas dinner, I but there seems to be a lot of infected the transplanted movies with this understanding and put flowers on her bed, Cox, 75, spoke at length with experience and one that was received a phone call and was satisfied customers. It’s a bit liver. All the chemo business in mind. “Force of Destiny” and the painter who came with the World Socialist Web Site too amazing to let go. I have told that there was a donor. It of an odd-ball film, but the has stopped and apparently flashes back and forth to India a picture of a flower. It still during a visit to . In this a quite rare blood group and was only a few weeks before I audience reaction is strong there’s nothing anyone can several times without any breaks my heart to remember health while millions are being was supposed to die. and that pleases me. We hope do. I should have died many establishing shots of airports or the mother who insisted on spent on military aircraft and I wrote “Tales from the a distributor will come forward times, but I’m still alive, have airplanes. Normally I wouldn’t putting on make-up because war equipment. We also have Cancer Ward,” which somebody and run it in the cinemas for a managed to make a film and have done it this way, but she didn’t want her child to see this constant celebration of read when I was at Cannes while. shared it with others, and that since the transplant I’ve lost or remember her suffering. She war. I can’t even stand hearing about a year later and they The film has a fantastic cast gives me great satisfaction. my fears about the things that died the next day. the word Gallipoli anymore. said I had to make the film. and has all the hallucinations I’ve been told to take things can go wrong when you’re Hospitals are astonishing I came from a war zone I began writing a script but and the madness that comes easy and just relax have a involved in the filmmaking places. Suddenly you’re in Europe and the first five couldn’t get any finance for with cancer treatment. It good time before I die, but I’m process. in an environment where years of my life was war and the film. Someone having is also a love story and it just not the type for that. You extraordinary people are doing destruction. We never knew a transplant is not exactly nourishes. We believe that somehow get used to living on RP: I thought the scenes everything they can to help whether our house would be regarded as hot material by the there’s an audience for this the edge of the void. in public hospital wards were you. This is far different from standing or not. The smell of bean-counters. and hopefully it will encourage particularly moving. a world dominated by taking death was everywhere. We collected some money more organ donations and RP: How did living on the PC: I’m not insured — I things from people. On May 5 each year in my and then received financial therefore help to save lives. edge of the void, as you don’t believe in it — and so I Although the public little town in Holland, the support from someone in say, influence your artistic had the fortunate experience health system is crumbling people walk silently through India. This meant that Screen RP: Was it painful re-living approach? of being with people in the in Australia, I was given the streets commemorating Australia could not refuse me some of these experiences? PC: I felt very free making public wards. What you see in incredible treatment. My the fact that at least half anymore and they provided PC: No. I was too determined. this movie. Music and film the film happened in my ward. partner Rosie, who also has the population of the town some money and off we went. Nobody thought I’d finish a transplant, was insured perished during the war. Once it was complete, we tried the film; that I’d die in the and she got exactly the same There’s no brass bands or flags to get Roadshow involved, midst of it. But even in India, treatment. If I’d been living just an immense sadness. But but they weren’t interested. with temperatures of up to 50 “You somehow get used to living in America, I wouldn’t have here in Australia we have this They didn’t regard it as a degrees Celsius, I just kept on survived. nonsensical celebration of war commercial film. We were then going; I was obsessed. It was a on the edge of the void.” The government is doing and you can’t escape it. invited to open the Melbourne wonderful experience and one insane things. Budgets and International Film Festival that kept me alive. jobs are being cut from public continued on page 64 Writer and director Paul Cox is one of this year’s Ebertfest guests.

62 18th 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 13-17, 2016 • The Virginia Theatre 63 Force of Destiny continued from page 63

RP: This is to condition the population, and particularly young people, for new wars. PC: That’s right. The national war memorial in is obscene. It has spaces reserved for the names of the next lot of & war dead and even multi-media war experiences for children. Present: And all the politicians are involved in this war mongering. Today there’s not an ounce of Cinema Judaica 2016 humanity in any of the official Please join us each Sunday in June for a great lineup of Jewish-themed films spanning the politicians, not just here but everywhere in the world. We genres of Documentary, Drama, Comedy, Classic, and Children’s/Family. seem to be governed by a pack Detailed schedule TBA. Email [email protected] or [email protected] for more info. of criminals. Rabin, The Last Day (2016) RP: You were recently quoted Actor David Wenham in “Force of Destiny.” The 1995 murder of then-Prime Minister of Israel, , somewhere saying: “If I could ended all efforts of peace and with him the whole left wing of live my life again I’d be crazier, Israel died. This docu-drama shows Rabin’s last days as Prime more radical.” Do you mean people are basically good.” this morning makes me further films that literally changed Minister, and the events that led up to his assassination. that politically or artistically? We are surrounded today by realise how lucky I was to make my life. They crept into my Directed by Amos Gitai. Not rated; 153 min. PC: I meant artistically, but so much evil and ignorance and the films I did. They probably bones and had a very profound Tikkun it’s probably a bit too late it’s pretty frightening, but I wouldn’t be produced today. influence on my outlook, not (2015) now. Perhaps I just want to be have to remain optimistic and I had many chances to do just for a few days or weeks but An ultra-Orthodox scholar is revived after dying for 40 minutes. forgiven. be honest with the feelings Hollywood things and out of throughout my entire life. After coming back to life, he suddenly feels a strange awakening inside me. sheer perversion I agreed, just So my advice to any young in his body and suspects that God is testing him. RP: What for? Every thinking artist aims to to find out what it was like. filmmaker is first understand Directed by Avishai Sivan. Not rated; 120 min. PC: I’m not sure. Perhaps I’d create something that is true. There was “Molokai: The Story that you have a social like to try and mend things a Although you can’t claim it of Father Damien” and an IMAX obligation, you must have Zero Motivation little with the people I might as “the truth,” I always strove film — The Hidden Dimension something of substance to (2014) The Human Resources Office at a remote desert base serves as the setting have offended. I don’t want for artistic honesty and that — but these were unhappy, say. Don’t become a filmmaker to leave behind all sorts of meant I never had any interest “never again” experiences. I if you’re only interested in for a unit of young, female Israeli soldiers who bide their time pushing paper unfinished issues. But if I was in compromising with the made enemies of quite a few making money. If it’s money and battling in computer games, counting down the minutes until they can younger I’d like to be more pressures and demands of the producers because I refused you’re after, just bugger off. return to civilian life. radical artistically, as well as commercial film industry. As to listen to them and they Cinema is too precious for Directed by Talya Lavie. Not rated; 97 min. being more politically involved. soon as I see a film that has butchered the movies. that and it must have a social I was quite shy — didn’t really the ring of the dollar to it — conscience. know what the hell was going whether it’s about cancer or RP: What advice would you This was always at the back An American Tail (1986) on — and it took me a long anything else — I turn off. I offer to young filmmakers of our minds when we made our Introduce your children to this beloved tale of Fievel, a young time before I found my own make films for fellow dreamers, today? movies, irrespective of whether Russian mouse who gets separated from his family while voice. not bums on seats. PC: Cinema is now over 100 they were commercially immigrating to the US. Featuring the voice talents of Dom Most of the films we made Maybe it’s my old Catholic years old and a powerful gift successful or not. That is why DeLuise and ; and the Oscar-nominated in the early days came out upbringing, but I’d feel very to humanity but it is now the best of the films we made song, “Somewhere Out There”. Rated G; 80 min. of sheer tenacity, madness guilty if I made something dominated by major commercial still endure. People should be and a total lack of what driven by money or profit. interests. This is a problem given something that enriches was considered the normal There can’t be any fooling because films have enormous them. They should leave the The Great Dictator (1940) approach. We were determined around with this. I may be power and can influence cinema with thinking more In this classic, dictator Adenoid Hynkel tries to though to show the humanity a little mad and abstract at people. deeply, more sensitised, instead expand his empire while a poor Jewish barber tries to avoid in all of us. As Anne Frank said times, but that’s all I have to Any filmmaker that thinks of feeling empty and numbed, persecution by Hynkel’s regime. Starring Charles Chaplin and at the end of her diary, “You offer. and feels is acutely aware of as is usually the case today. Paulette Goddard. Rated G; 125 min. have to keep believing that Talking about this with you this fact. I can think of ten

64 18th 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 13-17, 2016 • The Virginia Theatre 65 sat u r DAY2PM FILMCREDITS act of Disney’s film interweaves the narratives of Schenck, a radical vocal anti-abortion activist who is rattled when various fatal grace RadicalRadical Grace Grace shootings (including one at an abortion clinic) hit unsettlingly (2015) Not Rated close to home, and Lucy McBath, a mother fighting for justice Produced by UndervaluedUndervalued in inHollywood, Hollywood, female female filmmakers filmmakers prove prove worth worth after her son is killed by a man Nicole Bernardi-Reis By Matt Fagerholm | June 21, 2015 who may evade punishment (a Directed and written by la George Zimmerman), thanks Rebecca Parrish to Florida’s Stand Your Ground Saturday at AFI Docs 2015 of the tremendously talented engaged in social activism. moments like this one where Producer Nicole Bernardi-Reis (left) is one of this year’s Ebertfest guests. Director, law. After McBath meets with Cinematography by gave me a triple feature I won’t women behind the camera When Representative Paul Parrish’s film achieves greatness cinematographer and editor Rebecca Parrish (right) is also an Ebertfest guest. Schenck, pleading for him Rebecca Parrish soon forget. At Washington D.C.’s that deserve to have as many Ryan claimed his proposed by humanizing its subjects to reconsider his stance on Naval Heritage Center, I saw opportunities as their male budget cuts for services aiding rather than portraying them artwork that illustrate the Parrish “drag camera equipment gun ownership, the minister three films about revolutionary counterparts. If a man had made the poor were inspired by his as one-note saints or martyrs. history of female involvement around for three years.” Sister undergoes a gradual moral CAst: sister simone Campbell movements that have the “Boys Don’t Cry” and “Monster,” “Catholic social teaching,” the The late Sister Jean Hughes, in the Catholic church Simone and Sister Chris were awakening that he likens to as herself who repeatedly brought down potential to change the world. rather than Kimberly Peirce and sisters decided to take their conspicuously missing from the present at the screening, and sobriety. Once Schenck gets on sister Chris schenk as herself They are fueled by compassion Patty Jenkins (respectively), his crusade on the road in order to the house at the screening I male-authored Gospels. voiced their gratitude for the the road to discuss his newfound sister Jean Hughes as herself and require their participants career would’ve taken off long do their part in ensuring that attended, confesses how she Enhanced immeasurably by director’s achievement. “From belief in gun control with fellow to take moral stands that may ago. President Obama’s Affordable finds herself slipping away a beautiful, wholly unobtrusive our faith perspective, gifts are Evangelicals, Disney’s film turns Running time: 75 minutes be widely unpopular in the eyes Which brings us to the U.S. Care Act would be upheld in from Roman Catholicism, while score from Heather McIntosh given before you know you need into a brilliant exploration of society. I find it especially premiere of Rebecca Parrish’s its entirety. After delivering maintaining her spirituality (“Compliance,” “Black Box”), them,” Sister Simone noted. of the appeal that firearms Print courtesy: striking that these films about “Radical Grace,” an exhilarating a rousing speech during her and tireless need to help those “Radical Grace” moved me to “This film, quite frankly, was a have for many white religious Kindling Group and ruffling feathers are (like most portrait of the “Nuns on the first stop on the nationwide around her (she insists on tears with its portrayal of good gift because it spreads the story conservatives in America, and Interchange Productions of the pictures I’ve seen at Bus” that easily ranks among bus tour, the camera remains holding the door for others even people putting their beliefs into out much further. … We never how that appeal is, in many this year’s festival) directed the year’s best films. Coming on Sister Simone Campbell as while walking with a cane). An action in ways that transcend directly took on the Vatican, ways, in direct conflict with by women. At a time when off like a real-life “Sister Act,” she sits back down and mutters especially fascinating sequence all idealogical boundaries. we just did it in the shadow their supposed beliefs. “So you him among the last people one female filmmakers are criminally this heroic group of women incredulously to herself, “We follows Sister Chris Schenk on During the Q&A afterward, of the conflict that gave us all need Jesus … and the Gospel would want to see brandishing undervalued in Hollywood, these rebelled against a Vatican- have 14 more days of this? Holy her trip in Rome as she visits Parrish said that although she’s this press attention, and then … and a sidearm?” Schenck a gun. His fiery argument movies offer inarguable ordered censure by becoming s---.” It’s in countless small various ancient sites housing a nonreligious person, she does used the press attention for our asks a pro-gun man of faith. that less people would die if “identify as a spiritual seeker.” mission.” The bravery and civility that everybody was armed is calmly “What drew me to their story When director Abigail Disney Schenck exudes during these and eloquently demolished by was how they demonstrated stepped before the audience confrontations is astonishing to Schenck, who says that such that social justice work could to introduce her film, “The behold. a black-and-white worldview be approached as spiritual Armor of Light,” she asked In between these tense indicates a detachment from practice,” Parrish explained. festivalgoers to participate in discussions with church reality. In an excellent sermon “I realized that this idea was a moment of silence to honor members, Schenck shares his delivered toward the end, something that I could take the recent victims of gun evolving opinions in voice-overs. Schenck reminds his followers into my own life and share violence at Mother Emanuel He realizes that guns are an that Fox News and the NRA more broadly.” The filmmaker Church in Charleston. Her invitation for those operating are not spiritual authorities had begun filming the nuns’ subject, Evangelical minister them to give into their fear, and should never be blindly story before they even came Rob Schenck, had just spent that the notion of living one’s obeyed. ’s up with the notion of stepping the past day at the church and life with a constant defensive religion reporter Sarah Pulliam foot on a bus, and became all was understandably exhausted, posture is inherently unhealthy Bailey moderated the post-film the more motivated to continue yet still decided to be present and that the racial dimensions discussion, and boldly asked on their quest while watching for the Q&A to follow. The first of the debate cannot be ignored. Schenck about his current stance One of the most viscerally on abortion, an issue that he impactful scenes in recent and Disney have disagreed on, cinematic memory occurs in leading to the only moments These movies offer inarguable proof D.C., as Schenck talks with three of tension between them of the tremendously talented women other pro-lifers and sees one during production. Schenck of them go completely off the says that while his opinion behind the camera. deep end, displaying the sort Organizer Erin Saiz Hanna prepares for a rally in support of the nuns. After the Vatican censured the sisters, Catholics across the United States organized prayer vigils and of short fuse that would make continued on page 68 rallies to show their solidarity with the nuns.

66 18th 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 13-17, 2016 • The Virginia Theatre 67 Radical Grace continued from page 67 remains the same, making this activist utilized in order to give film has brought him closer to AIDS victims the attention and understanding the perspectives care they deserved. What the of others and appreciating the film reminds us is that Kramer complexity of their experiences. was not an especially popular Though his activism has caused figure among his fellow members him to lose significant financial in the gay community after support, he has “come to the publishing the 1978 novel, “F- conclusion that some things are -----,” in which he argued that worth the cost,” and his recent the practice of “treating each visit to Charleston only affirmed other like meat devalues us as his convictions. An unbridled people.” Kramer stood for the “love fest” was taking place in dignity of his sexual orientation, the church in the wake of the promoting the importance of a tragedy. “No one told me that loving relationship, and when they wished there had been a the AIDS epidemic began to Rev. Dr. Michael Louis Pfleger of St. Sabina (left) and Heather McIntosh, composer, gun fight,” Schenck replied, sweep the nation, his message are guests of this year’s Ebertfest. while visibly moved. of love took on an even deeper Just like Rob Schenck and the meaning. Ignored by their own 80th birthday on June 25). to the status of an icon with Nuns on the Bus, Larry Kramer government and left to die, gay Joining her at the screening his groundbreaking 1985 play, has committed his life to creating men took to the streets in angry was Kramer’s enemy-turned-ally “The Normal Heart,” which was a more humane world that demonstrations led by Kramer Anthony Fauci, an immunologist adapted for TV last year on HBO. values the worth of every life in an effort to make visible the who was a target of many well- By the end of “Larry Kramer in #LiveWithPresence that inhabits it, and his activism urgency of their plight and the intentioned diatribes from the Love & Anger,” the activist is out is well chronicled in the HBO necessity of research to find a activist. “The demonstrations of the hospital, newly married to documentary, “Larry Kramer in cure. changed me,” Fauci recalled. his longtime lover and shows no Love & Anger,” set to air Monday, Carlomusto does not sidestep “I learned from Larry that the signs of ceasing in his efforts to June 29. Directed by Kramer’s the more difficult aspects of FDA could be flexible with shed light on the untold history longtime friend, Jean Carlomusto, Kramer’s character, nor his the rigidity of its process.” of gay people in America. Just as the film covers territory familiar current health problems. He may When certain figures in the Sister Chris found visual traces Your heart deserves the best. to anyone who saw David appear frail, but after having government caught wind that of Catholic women’s history Presence Health provides complete heart care from a skilled team of France’s Oscar-nominated 2012 survived a liver transplant Fauci had sided with the hidden in plain sight throughout doc, “How to Survive a Plague,” that nearly resulted in his demonstrators, he got a call Rome, Kramer has unearthed cardiologists, surgeons, nurses and technicians. We work with each and doesn’t get quite as close to death, Kramer still proves to from the White House, causing photographs displaying gay its subject as one would hope, be as resilient a warrior as ever him to fear that he would be couples from past eras captured patient to prevent, detect, treat and manage heart disease. yet the picture succeeds as a (Carlomusto had arrived in fired. Instead, he became a in loving embraces. Their story provocative study of the persona D.C. just after visiting Kramer key contributor in HIV/AIDS may be untold, but it has always that the controversial writer and to celebrate his upcoming research, while Kramer grew existed, hidden in plain sight. Using advanced technology and minimally-invasive procedures, our regional heart and vascular specialists can detect problems in the earliest stages.

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68 18th 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 13-17, 2016 • The Virginia Theatre 69 sat u r DAY4:30PM Film screening sponsored by: FILMCREDITS Champaign County allianCE FoR rather effective suspense story: his sometimes eccentric musical thE pRomotion oF aCCEptanCE, As Melinda gets closer and closer visions feel almost miraculous. LOVE & to Brian, under Landy’s paranoid And Banks, who brings equal inClusion, anD REspECt gaze, one wonders just how notes of beauty-queen sunniness MERCY Love & Mercy much fortitude Mr. Wilson’s new and Girl Scout rectitude to her love interest has, and if she has portrayal of Melinda (who did, (2014) Rated PG-13 that fortitude, can she get what spoiler alert, become Mrs. Wilson she needs to deliver Brian from after the events depicted in Written by: Oren Moverman A look into the tumultuous life of musician Wilson what he describes as his “hell.” this film) has an interesting and Michael A. Lerner It gets pretty tense. chemistry with the haltingly By Glenn Kenny | June 5, 2015 Directed by: Bill Pohlad Meanwhile, back in the charming and sometimes ‘60s, Pohlad and Dano and a tragically wrung-out Cusack. CAst: The most heartening surprise host of excellent supporting The movie isn’t perfect: Director Bill Pohlad Paul Dano as Brian-Past about director Bill Pohlad’s “Love players simulate the creation The hairpiece Giamatti sports John Cusack as Brian-Future and Mercy” is also to my mind, of such ground-breaking pop throughout is so unconvincing got to give Pohlad credit for as Melinda a pretty improbable one. That works as Pet Sounds and “Good that the filmmakers ought nerve. In any event, there’s more Ledbetter is, that it’s such a good and at Vibrations.” Usually fictionalized to have found away to make than enough of real value in times better than good movie. scenes of music-making are a joke of it. But even when the movie in spite of that. Not Running time: 121 minutes The rise and fall and rise and as convincing as cinematic Pohlad puts a foot wrong, he just its content, but its bedrock fall and rise of genius musician depictions of painters painting does so in an interesting way. belief in people, in spite of all Print courtesy: swank Motion Pictures Brian Wilson, a life story that (that is, not at all), so the very This isn’t the kind of movie the awful things people can do. disproves Fitzgerald’s adage compelling scenes in which in which you expect to find a This philosophy is also a big part about there being no second young Brian corrals the crack resonating allusion to “2001: A of Wilson’s music, a point that’s acts in America in what seems LA session players known Space Odyssey,” and yet there brought home as the end titles like the most perverse way as “The Wrecking Crew” into one is. And while I have to say roll. imaginable, looks on paper to be accepting and then conjuring it didn’t quite work for me, I’ve too sprawling, too chaotic, to be distilled into a coherent, never mind compelling, cinematic narrative of conventional length. But longtime producer Pohlad (“,” “12 Years A Slave”), working Actor John Cusack and actress Elizabeth Banks in a still from “Love and Mercy.” from a daring script by Oren Moverman and Michael Alan periods. In the mid ‘60s, Paul exposure to LSD. Cusack plays outside world, he scrawls on Lerner, and using two first- Dano’s Wilson is the baby-faced the Wilson of the late ‘80s, her business card and leaves it rate actors to play Wilson musical genius of the Beach Boys supposedly brought back from on the steering wheel of the at two turning points in his who’s burning out on the road a complete psychotic break by car. The words he’s written are life, lavishes his material life. He’s got this amazing music psychological miracle worker “Lonely/Frightened/Scared.” with love, attention to detail, in his head, and he manages Dr. , who became Landy, played with terrifying ARTISAN BREADS AND PASTRIES and empathetic imagination. to get quite a bit of it out, such a part of Wilson’s life that intensity and smarm by Paul BOXED LUNCHES The result is a story that’s despite the resentful sniping of he presumed to make himself Giamatti, has by this point in hair-raisingly watchable and his abusive ex-manager father, a partner in the creation of time morphed from someone in SANDWICHES, SALADS, frequently moving, regardless the hostility of at least one Wilson’s music. John Cusack’s service of Wilson to a malignant of what you believe you might bandmate who doesn’t get why Wilson wanders desultorily Svengali. His monstrous CREPES, OMELETTES already know of Wilson’s life. Brian isn’t writing more hits, and into a Cadillac dealership manipulations are bad enough in ATERING VAILABLE The movie shuttles back and an increasingly fragile psychic (although we soon see he’s got isolation, but when intercut with C A ! forth between two distinct state that is not helped by an a bodyguard trailing him, and scenes of the younger Wilson a mini-entourage trailing the shrinking at the disapprobation bodyguard), charms attractive of the father — who beat him The result is a story that’s hair-raisingly young salesperson Melinda to deafness in one ear, but from (Elizabeth Banks), who at first whom Brian still craves approval watchable and frequently moving, has no idea who the sweetly — or the cousin/bandmate who regardless of what you believe you might eccentric fellow is. After telling hectors him over jokey song her he wants the car in which lyrics and musical direction, they already know of Wilson’s life. they’ve stolen a few precious are genuinely heart-rending and 116 N. NEIL ST. | PEKARABAKERY.COM | 217.359.4500 moments removed from the angering. The movie creates a 70 18th 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 13-17, 2016 • The Virginia Theatre 71 SAT U R DAY9PM FILMCREDITS Macabre.” In “Blow Out” there of “Sisters,” the uncertainty are such Hitchcock hallmarks of historical “facts” from BLOW OUT as a shower scene (played this “Obsession,” and it ends with time for laughs rather than the bleak nihilism of “Carrie.” (1981) Rated R Blow Out for the chills of “Dressed to But it moves beyond those Kill”), several grisly murders films, because this time De Written and directed by in unexpected surroundings, Palma is more successful than Brian De Palma violence in public places, and ever before at populating his De Palma’s film provides an original take on classic thrillers a chase through Philadelphia plot with three-dimensional CAST: as Jack By Roger Ebert | Jan. 1, 1981 on the anniversary of the characters. We believe in the Nancy Allen as Sally ringing of the Liberty Bell. This reality of the people played by as Burke last extended chase sequence John Travolta, Nancy Allen, Dennis Franz as Manny There are times when “Blow photographer saw, or thought reminds us of two Hitchcock John Lithgow and Dennis Out” resembles recent American he saw, a murder — and strategies: His juxtaposition of Franz. They have all the little Running time: 108 minutes history trapped in the “Twilight went mad while obsessively patriotic images and espionage, tics and eccentricities of life. Zone.” Episodes are hauntingly analyzing his photographs of as in “North by Northwest” and And although they’re caught Actress Nancy Allen is one of this year’s Print courtesy: familiar, and yet seem slightly the “crime.” Was there a dead “Saboteur,” and his desperate in the mesh of a labyrinthine festival guests. Park Circus, Inc. askew. What if the “grassy body to be found on that fuzzy chases through uncaring conspiracy, they behave as knoll” recordings from the negative? Was there even such crowds, reminders of “Foreign people probably would behave reconstructs a film and sound police radio in Dallas had been a thing as reality? In “Blow Correspondent” and “Strangers in such circumstances — record of the accident, we’re crossed with Chappaquiddick Out,” John Travolta plays on a Train.” they’re not pawns of the plot. challenged and stimulated: and linked to Watergate? the character who confronts But “Blow Out” stands by Best of all, this movie is We share the excitement of What if Jack Ruby had been these questions. He’s a sound itself. It reminds us of the inhabited by a real cinematic figuring out how things develop a private eye specializing in man for a sleazy Philadelphia violence of “Dressed to Kill,” intelligence. The audience isn’t and unfold, when so often the divorce cases? What if Abraham B-movie factory. He works on the startling images of “The condescended to. In sequences movies only leave us as passive Zapruder — the man who took cheap, cynical exploitation Fury,” the clouded identities like the one in which Travolta witnesses. the home movies of President films. Late one night, while he’s John F. Kennedy’s death — had standing on a bridge recording been a sound-effects man? owls and other night sounds, And what if Judith Exner — he becomes a witness to an Nancy Allen plays Sally, the lead female role in “Blow Out,” starring John Travolta. remember her? — had been accident. A car has a blowout, PAULA POUNDSTONE working with Ruby? These swerves off a bridge, and Emmy Award-winning are some of the inspirations plunges into a river. Travolta that she was part of a blackmail Meanwhile, the Travolta comedian, currently THURSDAY out of which Brian De Palma plunges in after it, rescues a plot against the candidate, and character digs deeper. For him, a regular panelist on constructs “Blow Out,” a movie girl inside (Nancy Allen), and then comes across the trail of it’s a matter of competence, NPR’s widely popular MAY 12 which continues his practice later discovers that the car’s a slimy private eye (Dennis of personal pride. Arguing weekly news quiz @ 7:30PM of making cross-references to drowned driver was a potential Franz) who wanted to cause a with a cop about his tapes, show, Wait Wait... other movies, other directors, presidential candidate. Still blowout, all right, but didn’t Travolta denies that he’s just Don’t Tell Me. and actual historical events, later, reviewing his sound figure on anybody getting imagining things: “I’m a sound and which nevertheless is his recording of the event, Travolta killed. man!” He stumbles across a best and most original work. becomes convinced that he The plot thickens beautifully. series of photos of the fatal All The title itself, of course, can hear a gunshot just before De Palma doesn’t have just a accident. In a brilliantly crafted seats reminds us of “Blow-Up,” the the blowout. Was the accident handful of ideas to spin out sequence, we follow every step $25 1966 film by Michelangelo actually murder? He traces to feature length. He has an as he assembles the film and Antonioni in which a down Nancy Allen, discovers abundance. We meet a gallery his recording into a movie of Cobalt Digital of violent characters, including the event, doggedly extracting Burke (John Lithgow), a what seem to be facts from congratulates The plot thickens beautifully. dirty-tricks specialist who what looks like chaos. Ebertfest on seems inspired by G. Gordon De Palma’s visual images in 18 years in De Palma doesn’t have just a handful Liddy. The original crime is “Blow Out” invite comparison complicated by a series of to many films, Champaign- of ideas to spin out to future length. other murders, designed to and indeed De Palma invited Urbana! lay a false trail and throw the such comparisons when the 600 North East Street Bloomington, Illinois He has an abundance. police off the scent of political posters for “Dressed to Kill” conspiracy. described him as “Master of the ArtsBlooming.org Proud supporters 309-434-2777 of Ebertfest

72 18th 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 13-17, 2016 • The Virginia Theatre 73 s u n DAY12PM FILMCREDITS Project. She essentially did the score for “Body and Soul” as body and part of a (AACM) School (of Music) project. I only expected soul BodyBody and and Soul Soul a recording! Can you give us a bit more (1925) Not Rated info about the orchestra? Will this be a series/ Written and directed by 1925 silent film comes together with new jazz score orchestra series? Or just one Oscar Micheaux event? By Chaz Ebert | Sept. 23, 2015 CAst: I would like to do this as Paul Robeson as Rev. Isaiah T. often as possible. Edward Jenkins and as Jenkins’ brother Editor’s note: The following I spoke with Baker as well Wilkeron and bassist/filmaker Sylvester article’s introduction has been as Black World Cinema curator Tatsu Aoki have been doing Marshall Rogers as Speakeasy updated. Floyd Webb for this exclusive I have always loved silent film. When I was silent Japanese films. One of proprietor Fans of silent cinema in two-part interview. a child living in the Ickes Projects, they were my former employers, Nitin Lawrence Chenault as Yello- Chicago have a treat in store for Sawhney, did a score for “A Curley’ Hinds them. Trailblazing filmmaker PART I: CONVERSATION WITH plentiful on WTTW and even WGN. Throw of Dice” with the British Oscar Micheaux’s 1925 silent FLOYD WEBB Film Institute. It toured and Running time: 102 minutes feature “Body and Soul” will How did this screening come even came here to Millennium Park. These are worthy projects Print courtesy: screen with a live orchestra about? Dirigent Media performing a brand new jazz I have always loved silent Kitzmiller played a role in the wanted something different. to pursue. And a lot of people I Paul Robeson starts as Rev. Isaiah T. Jenkins, as well as Jenkins’ brother, Sylvester score by composer Renee Baker, film. When I was a child living film “Senza Pietà” (1948), “Within Our Gates” returned know have a love and interest in the 1925 silent film “Body and Soul.” as part of the Black World in the Ickes Projects, they partly written by Fellini, and to Chicago for the first time in in how to explore contemporary Cinema Film Series. This film were plentiful on WTTW and the music in that film (that 70 years at the Film Center on music and arts to re-explore marks the debut of actor Paul even WGN. It (led to) my first accompanies) his love affair Columbus Drive before a sold silent film. My mate and I had a kid and shot prior to him directing Robeson, best known for his real curiosity regarding film with an Italian girl haunts me out audience in 1991. I have been talking to festivals are not money-makers. “Mirrormask” for Sony. unforgettable performance as artistic expression — no to this day. A few years ago, I was Edward and Tatsu about Our funding was not steady and I was asked by Alisa Starks, of “Ol’ Man River” in 1936’s sound, but lots of emotion I went to the Association working with the Great Black doing the silent Chinese I really sort of “just did it.” I who then owned the theater, opportunities for my recently “Showboat.” He stars in a dual in movement and gesture, in for the AACM (Association Music Project’s director, the Wuxia (martial arts) film knew Richard Pena at the Film to do Black World Cinema there finished/produced score role as a wicked preacher and music and editing and human of Advancement of Creative late Godfrey Mason. We had “Red Heroine,” if I can get Center, Brenda Webb and Joh because the community wanted for “Body and Soul.” I am a his righteous brother, two expressions. As I watched Musicians) School of Music and contracted Nicole Mitchell to do permission. I am going to Hoffman at Chicago Filmmakers to see the films I screened composer and also a music ideologically opposed siblings foreign films on WTTW, I have known a lot of the AACM a track for Micheaux’s Body and always do this when I can. I when it was on Hubbard Street at Blacklight. We opened director of a full symphony in whose rivalry reaches its peak noticed how the Italian Neo- members since the late 1970s. Soul. I have done visualizations love it. It is part of my essential where I volunteered as a to large audiences. I think Chicago, the Chicago Modern once they set their sights on a Realists continued to use silent It was during my association for Nicole’s compositions, one PERSONAL film history. projectionist and made my own it is important to maintain Orchestra Project. My producer, particularly lovely member of film techniques within sound with composers like Edward was for her project Xenogenesis What is the importance of film. They helped me create the my relationship at Chatham Don DiNicola, had heard some the congregation. films. African-American John Wilkerson that I started Suite: A Tribute to Octavia holding it at the Studio Movie festival. with the new owners, Studio of my music and suggested that thinking about doing programs Butler. Nicole was too busy and Grill, SMG, Chatham theater? After 12 grueling years. I Movie Grill, and keep bringing we collaborate on this project. like this in the mid-1980s. I she directed me to Renee Baker, I have been doing the walked away from it and ended programs like this to the South I happen to be an African- was directing the Blacklight who was rehearsing the Chicago Black World Cinema series at up in the U.K. working for a outside of the usual formal American woman with a full International Film Festival in Symphony and working with Chatham since May 2005. I 3-D animation and multimedia institutions. orchestra that I formed in partnership with Richard Pena, the Chicago Modern Orchestra stopped doing the Blacklight company with David Allen, The audiences love to engage 2010. After marrying the music who was then head of the Film Project. Film Festival in 1994, I think. a former producer of The in compelling conversation to this marvelous film, we Center of the Art Institute. We have two more projects The Blacklight Film Festival of Cure and for fine artist David after the films. These dialogues discovered that we had given “Within Our Gates” had recently planned. She is going to score International Cinema was a rare McKean on his early films for are just as important to them BNS (“Body and Soul”) what been found in the Spanish Film Micheaux’s lesser known event taking place from 1982 Neil Gaiman’s “Mr. Punch” DVD, as seeing the film. They come amounts to musical dialogue. Archives. It took several years, “Symbol of the Unconquered” to 1995. and his own “The Week Before,” armed with notebooks seeking So our approach was quite but I, with Richard’s help, and help me with a personal references for what they have unique, giving voices to the finally obtained a copy when project utilizing Renoir silent seen. They love the films I characters and allowing them to it was placed with the Library film, “Sur Air un de Charleston” show. So do I. establish sonic dialogues. of Congress. My friend Edward (1928). The audiences love to engage in compelling I premiered BNS in April 2015 Wilkerson had a dynamic Octet Who decided to add the PART II: WORDS FROM at the Museum of Contemporary called 8 Bold Souls and I asked Chicago Modern Orchestra to conversation after the films. These dialogues are RENEE BAKER Art Chicago as part of their him to write the track and to accompany the film? just as important to them as seeing the film. The screening came about Creative Music Summit 2015 feel free to improvise their tails Renee Baker brought the when I contacted Floyd Webb off within the composition. I Chicago Modern Orchestra about additional screening continued on page 76 Portrait of composer Renee Baker

74 18th 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 13-17, 2016 • The Virginia Theatre 75 Body and Soul continued from page 75 and as I happen to also be an by New Music USA for the with electronic samples, but Floyd Webb and I are AACM composer, I have a rich live full orchestra scoring and when you have an orchestra at planning to do “Symbol of the lineage to pull from — Muhal performance. This performance My backstory is that as an AA (African- your disposal, I decided that Unconquered” by Micheaux in Richard Abrams, George Lewis, will take place on October 1 American) composer, I was not going to using live accompaniment was the coming months. Ultimately Henry Threadgill, Roscoe with the new score. There is the more ideal goal. Originally I would like CMOP to produce Mitchell, the Art Ensemble of only one performance scheduled wait for others to perform my music. I was going to present the scores for all discovered Chicago. My large symphony, with the full orchestra as of this version of the movie that we Micheaux films, possibly CMOP, is my answer to the moment. produced for DVD, but how some Spencer Williams works third stream genre uniting So, an African-American along with many other small over the world. often in the black community and then branch out into the idioms of classical music, woman with a full symphony ensembles, I formed CMOP. I encountered Floyd Webb does one get to see and hear other forgotten gems of the creative avant garde stylings decides to become a film Success is coming — I’ve had as a film producer but knew a Micheaux masterpiece with silent era. In January 2016, and jazz. composer, attracts (the) works premiered by Chicago of his affiliation with Black a live orchestra? Chatham we are premiering “A Page of Producer Don DiNicola and interest of producer Don Sinfonietta at Symphony Center World Cinema, so I asked for 14 is uniquely situated in a Madness” with my original I have produced two creative DiNicola as mentor/ and am currently working with an opportunity to expose community/neighborhood score performed by CMOP at works with BNS. One is the collaborator/partner and off we orchestras and ensembles all Chicago audiences to my and setting with reasonable Dominican University. DVD we released independently go. Chicago Modern Orchestra over the country. I have also the orchestra’s work. Ironically, admission so that families et The stand-out part of this, for on July 1 of a newly crafted Project is a marvelous vehicle formed my chamber ensemble, about four years back, Floyd al can be introduced to the me, is that the formation of a score composed by me and to have and my backstory PEK Contemporary Project, approached me about scoring history of black cinema, the symphony in this socioeconomic performed by CMOP. That score is that as an AA (African- abroad in Berlin. CMOP has BNS with him, but the project oeuvre of Oscar Michaeux and climate may have been a dream has been married to the film American) composer, I was performed primarily in the never materialized. the current/future work of but the ensuing dream of the and this new project with BNS not going to wait for others Chicago area, but I have I know in this day it is easier (myself), Don DiNicola and production of “Body and Soul” involves a newly funded project to perform my music. So performed, and still do so, all to score and produce music CMOP. validates that decision. Composer Renee Baker is one of this year’s Ebertfest guests.

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76 18th 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 13-17, 2016 • The Virginia Theatre 77 Last year A look back at the 2015 festival Photos courtesy of Thompson-McClellan Photography

Festivalgoers watch the opening film “” at the 17th Annual Festival. 3-D glasses were graciously donated by Ebertfest projectionist James Bond.

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301 N. Niel St. Champaign, IL 61820 Alloy Orchestra accompanies “,” a 1926 silent film following “Goodbye to Language” actor Heloise College of Media Dean Jan Slater welcomes everyone to the 17th Annual the tumultuous love story of young man Godet speaks on stage after her screening. Ebertfest at the Opening Reception hosted by former University President and a dancer. Robert Easter and his wife, Cheryl. 78 18th Annual Roger Ebert’s Film Festival April 13-17, 2016 • The Virginia Theatre 79 Director Godfrey Cheshire of “Moving Midway” moderates a critics panel at the Pine Lounge in Actor onstage after the screening of his crime film, the Illini Union. “A Bronx Tale.” Palminteri also wrote the film’s screenplay.

Michael Barker of Sony Pictures Classics discusses the film “Wild Tales” with Festival Director Nate Kohn, Chaz Ebert and outgoing Associate Festival Director Mary Susan actress Julieta Zylberberg and casting director Javier Braier. The film was Britt on stage at the opening of the 17th Annual Roger Ebert’s Film Festival. nominated for Best Foreign Language Film at the 87th Academy Awards.

World-renowned pianist Seymour Bernstein conducting an on-stage Susan Wloszczyna, Glenn Kenny, Trevor Albert, Erica Ramis and Chaz Ebert speaking to the class with a University of Illinois Music student. Bernstein is also audience after “The Harold Ramis Tribute.” The 17th Annual Roger Ebert’s Film Festival was Producer Johan Carlsson laughs the subject of the documentary “Seymour: An Introduction.” dedicated to Mr. Ramis. Chaz Ebert presents director Alan Polsky with a Golden on stage after his screening of “A Thumb prior to discussing his directorial debut, “The Pigeon Sat on a Branch Reflecting Motel Life.” on Existence.”

Actor discussing The Roger Ebert sculpture outside the Virginia Theatre at the 17th his role as respected American Director Godfrey Cheshire (on stage) speaks to larger than life Dr. Robert Hinton via Skype Ebertfest guests enjoy Sunday brunch with Chaz Ebert, hosted by Annual Roger Ebert’s Film Festival. The sculpture was unveiled at the author David Foster Wallace in Director (right) talks with actor Noah projected on the 70-foot screen after the film “Moving Midway.” The documentary explores the Steak ‘n Shake, one of Roger’s favorite restaurants. 2014 Festival as a tribute to Roger and Ebertfest. “.” Lomax (left) after the screening of their film “.” move of Cheshire’s ancestral plantation.

80 18th 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 13-17, 2016 • The Virginia Theatre 81 Thanks to those who made the 2016 festival possible

FestivAl Guests FestivAl stAFF Chair, Academic Panels PRiNt COuRtesy Dr. Norman Denzin Angela Allen Co-Founder, Producer and Host CRIMSON PEAK Nancy Allen CHAZ eBeRt Festival Program Print Courtesy NBC universal Pictures Nick Allen The Daily Illini Festival Director Editor-in-Chief Megan Jones Alloy Orchestra Nate Kohn Copy Chiefs Margaret Pluskota GRANDMA Chen Alon and susan szuch Print Courtesy Stephen Apkon Assistant Festival Director sony Pictures Classics Renee Baker Casey ludwig NORTHFORK Michael Barker The Master Print Courtesy Angelica Jade Bastién Andrew stengele vOluNteeRs Paramount Classics Nicole Bernardi-Reis Chicago Modern Orchestra Director, Virginia Theatre Roger Ebert’s Film Festival THE THIRD MAN Project steven Bentz thanks all of its loyal and Print Courtesy Rialto Pictures Paul Cox hard-working volunteers. Sales and Public Relations Without you, the Festival Guillermo del Toro Manager, Virginia Theatre L'INHUMAINE would not be possible. We Mark Dujsik Mitch Marlow Print Courtesy Dream big. Shawn Edwards are deeply grateful for your Flicker Alley, llC dedication, time and Matt Fagerholm Technical Manager, Virginia Theatre commitment – not only during EVE'S BAYOU Stephen Feder Mike Frederick the Festival, but all year round. Print Courtesy We’re here. Marcina Hale ChubbCo Film Co. Sulaiman Khatib Front-of-House Coordinator, Chuck Koplinski Virginia Theatre FORCE OF DESTINY A smile, a handshake, a helping hand. Kasi Lemmons Joel Blanco Print Courtesy A veRy sPeCiAl illumination Films Leonard Maltin Box Office Manager, Virginia tHANKs tO Heather McIntosh At Busey, we’re committed to improving the quality of life in the Theatre RADICAL GRACE Leading Sponsors Andrew Miano Jenny Carpenter Print Courtesy communities we serve. Supporting our neighbors leads to vibrant, Champaign County Alliance Nell Minow Kindling Group and for the Promotion of thriving communities—the places we’re proud to call home. Projectionists interchange Productions Richard Neupert Acceptance, inclusion James Bond Sheila O’Malley and Respect travis Bird LOVE & MERCY Whether we’re supporting local charitable organizations, providing energetic Rebecca Parrish Print Courtesy volunteers for area events or establishing small business startup initiatives, steak 'n shake Father Michael Pflegler Web site swank Motion Pictures Busey is your source to bridge community needs. Michael Phillips leone Advertising university of illinois at Eric Pierson BLOW OUT urbana-Champaign Michael Polish Coordinators Print Courtesy Busey. Your Dream. Our Promise. sophie Kohn Park Circus, inc. Glen Powell the ebert Foundation Namita Dewan Gil Robertson IV sonia evans BODY AND SOUL Hollywood Foreign Press Matt Zoller Seitz Keith Pegues Print Courtesy Association Juston Street Dirigent Media Christine Swanson Program Supervisor Kristi Bruce Amatucci Brian Tallerico Official travel agent Donna Anderson busey.com 217.365.4500 Member FDIC Paul Weitz Graphic Design suzi Davis travel Susan Wloszczyna Carlton Bruett Andrew Young

18th Annual Roger Ebert’s Film Festival 82 All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 13-17, 2016 • The Virginia Theatre 83 SILVER SPONSORS SILVER SPONSORS MEDIA GIFTS-IN-KIND $1,500 + $1,500 + Illinois Public Media Carter’s Furniture Marsha Clinard & Charlie Boast Aroma The News-Gazette The Daily Illini/Illini Media Thanks for making the 2016 Festival possible Nell Minow & David Apatoff Seven Saints Smile Politely Champaign Park District Sponsors Scott & Nancy Slonim Guido’s WAND TV Virginia Theatre Linda & Charles Tabb Jupiter’s Pizzeria & Billiards WCIA News Talk 1400/Lite Rock 97.5 DOUG LOVES MOVIES Illini Radio Group Champaign-Urbana Mass Transit Lanning & Colleen Quigley WIXY 100.3 District (MTD) Brand Fortner MIX 94.5 Thompson-McClellan FILM CIRCLE SPONSORS $25,000 + DIAMOND SPONSORS $10,000 + Patty & Jon McNussen REWIND 92.5 Community Concierge Magazine Roger & Chaz Ebert Hollywood Foreign Press Association Cobalt Digital, Inc. WYXY CLASSIC 99.1 Champaign County Tent L.A. Gourmet Catering Words that Work by Mary Shores OLDIES 97.9 Adams Outdoor Advertising Champaign County Alliance for the Promotion of Chuck & Eileen Kuenneth EXTRA 92.1 Sun Singer Wine & Spirits, LTD. Acceptance, Inclusion, & Respect The News-Gazette * Maxine & James Kaler HITS 99.7 Ralph & Joe, Garcia’s Pizza Steak ‘n Shake Jim Johnson & Coleen Quinn in a Pan Chipman Design Architecture Cream & Flutter Shatterglass Studios Sharon Shavitt & Steven MIGA Zimmerman Power n Soul Pro Don Tingle V. Picasso Robeson Family Benefi t Fund Dish Passionate Cuisine Peter & Wanda Tracy PATRONS David Graham $750 + Joe Bennett & Aaron Hines Carol Spindel & Thomas J. Bassett Ann Benefi el & Joseph Kunkel Marsha Woodbury Elliott Counseling Group Marge Perrino Fraeda & Gary Porton Greg & Anne Taubeneck C-U Adventures in Time & Space Tom & Regina Galer-Unti Ashley Rodman & Matt Gladney Bill & Wilma O’Brien PLATINUM SPONSORS $5,000 + One Main Development Ann Beddini President & Mrs. Timothy L. Killeen Don & Suzi Armstrong Jeanene & Rick Stephens PNC Bank Busey Eric & Shirley Pierson Big Grove Tavern Paul Kane

GIFTS-IN-KIND Leone Advertising, Website ChipmanDesignArchitecture L.A. Gourmet Catering ATLANTA | BOGOTA | CHICAGO | | NEW YORK Fleurish GOLD SPONSORS Einstein Bros Bagels $2,500 + Herriott’s Coffee Company Carol Livingstone & Dan Grayson FESTIVAL FRIENDS Stella Artois Jennifer Shelby $500 + CarltonBruettDesign SAGIndie Prairie Sky Consulting DIAMOND SPONSORS $10,000 + Presence Health Gary T. & Constance Wikoff Betsy Hendrick Laura Welch, Welch Family Foundation Dianna K. Armstrong fleurish logo 2 Leone Advertising Yvette Scheven

BETSY HENDRICK FLEURISH FESTIVAL ASSOCIATES $250 + Philip Nyman Robert & Beth Zeiders Ed & Nancy Tepper Candlewood Suites Holiday Inn Express * The News-Gazette has made a one-time donation of $50,000 toward the Troylene Ladner HENDRICK HOUSE remodeling of the Virginia Theatre’s projection booth.

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In the spring of 2012, the Champaign Park District launched the largest renovation project yet for the Virginia Theatre since taking ownership of the historic facility in 2000. Major components of the project included restoration of the auditorium paint and plasterwork, installation of an elevator to transport patrons between the main and mezzanine level lobbies, upgrades of the electrical and stage systems, replacement of the seats and complete renovation of the basement dressing rooms. With improvements to the Virginia Theatre come increased opportunities for community groups, including youth and community theater groups, educational curriculum for children, rentals, increased options for performing arts groups and an opportunity to become the cornerstone for cultural arts Help us finish the in downtown Champaign. But, there is still work to be done. The purchase of new lighting and sound equipment was not part of the latest renovation due to budget constraints, so renovation! your help is still needed. With your support, funds currently allocated for rental of this equipment will become available for other programs within the theatre and will help keep ticket prices for shows affordable. Our commitment to restoring this beloved facility is apparent to all who walk through her doors, and we pledge that same level of quality workmanship will continue with everything Champaign Parks Foundation is a 501(c)(3) charitable we do. Please donate today so we can continue our efforts to nonprofit providing philanthropic support for the ensure that the Virginia Theatre remains a vital part of our community for generations to come. Champaign Park District. “The“The mottomotto ofof SteakSteak 'n'n ShakeShake isis ‘In‘In SightSight ItIt MustMust bebe Right.’Right.’ Right.’ be Must It Sight ‘In is Shake 'n Steak of motto “The Donate at champaignparks.com or thevirginia.org “TheNoNo motto comma.comma. of Steak ThisThis achieves achieves'n Shake thetheis ‘In perfectionperfection Sight It Must ofof aa be haiku.”haiku.” Right.’ haiku.” a of perfection the achieves This comma. No No comma. This achieves the perfection of a haiku.” 88 18th Annual Roger Ebert’s Film Festival ——   — —  “The motto of Steak 'n Shake is ‘In Sight It Must be Right.’ Right.’ be Must It Sight ‘In is Shake 'n Steak of motto “The No comma. This achieves the perfection of a haiku.” haiku.” a of perfection the achieves This comma. No  — The College of Media at Illinois presents Roger18thAnnual Ebert’s Film Festival2016 April 13-17, 2016

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