This year’s festival is dedicated to

You will understand me when you see me dance. Wednesday, April 25, 2012 7:00 p.m. 1401 Green Street, Urbana, IL 10:00 p.m. The Truth About Beauty and Blogs Free and open to the public 10:15 p.m. Phunny Business: A Black Comedy Thursday, April 26, 2012

Thursday, April 26, 2012 9:00 a.m. – 10:15 a.m. The Personal and Political in Film 1:00 p.m. Big Fan Moderated by Nate Kohn 4:00 p.m. Kinyarwanda Pine Lounge, 1st Floor 8:30 p.m. Terri 10:30 p.m. Kind Hearts and Coronets 10:30 a.m. – 11:45 a.m. Hosted by Far Flung Correspondents: NOTE: This screening is at Foellinger Auditorium What’s New Around the World? and is free and open to the public. Moderated by Omer Mozaffar Pine Lounge, 1st Floor Friday, April 27, 2012 1:00 p.m. On Borrowed Time Friday, April 27, 2012 4:00 p.m. Wild and Weird with the Alloy Orchestra 9:00 a.m. – 10:15 a.m. 8:30 p.m. Underrepresented Cinematic Voices Moderated by Eric Pierson Pine Lounge, 1st Floor Saturday, April 28, 2012 1:00 p.m. Higher Ground 10:30 a.m. – 11:45 a.m. 4:00 p.m. Patang ON DEMAND: Movies Without Theaters 8:30 p.m. Moderated by Jim Emerson Pine Lounge, 1st Floor Sunday, April 29, 2012 12 noon

Saturday, April 28, 2012 Sunday, April 29, 2012 9:00 a.m. – 10:30 a.m. Shooting Your Short Film 4:30 p.m. Antwone Fisher Presented by Don Tingle The Champaign County Anti-Stigma Alliance is pleased to General Lounge, 2nd Floor announce that they will have a special showing of “Antwone Fisher” immediately following the close of (April 29). The Anti- Stigma Alliance is a collaboration which works to address and challenge the negative impact of stigma. This screening will be at the Virginia Theatre at 4:30 p.m. and is free to the public. Saturday, April 28, 2012 9:30 a.m. – 11:00 a.m. The Tree of Life: Making Movies Using Scientific Data Moderated by Donna Cox and Robert Patterson Wednesday, April 25, 2012 Pine Lounge, 1st Floor 9:00 a.m. – 10:00 a.m. Jim Turpin’s (WDWS-AM 1400)Ebertfest Interview

2 14th Annual ’s Film Festival Welcome from Roger Ebert ...... 4 MOVIE REVIEWS WEDNESDAY, APRIL 25, 2012 Welcome from the University of ...... 9 Joe Versus the Volcano (7:00 p.m.)...... 36

Welcome from the Festival Director ...... 11 The Truth About Beauty and Blogs (10:00 p.m.) 40 Phunny Business: A Black Comedy (10:15 p.m.).. 40

Virginia Theatre Renovates Wurlitzer Organ...... 13 THURSDAY, APRIL 26, 2012 Complete Schedule of Events...... 14 Big Fan (1:00 p.m.) ...... 44 Kinyarwanda (4:00 p.m.) ...... 46 Important Information about the Festival ...... 17 Terri (8:30 p.m.) ...... 48 Kind Hearts and Coronets (10:30 p.m.) ...... 50 Dining Tips...... 19 FRIDAY, APRIL 27, 2012 Roger Ebert – Casting a Lens on C-U ...... 20 On Borrowed Time (1:00 p.m.)...... 54 Wild and Weird accompanied by the Festival Guests ...... 23-34 Alloy Orchestra (4:00 p.m.) ...... 56 A Separation (8:30 p.m.) ...... 58 Festival Sponsors ...... 76

SATURDAY, APRIL 28, 2012 A Look Back at Last Year’s Festival ...... 79-81 Higher Ground (1:00 p.m.) ...... 62

Special Thanks...... 83 Patang (4:00 p.m.) ...... 64 Take Shelter (8:30 p.m.) ...... 68

Parking Information and Area Map...... 85 SUNDAY, APRIL 29, 2012 Festival Dedication – ...... 87 Citizen Kane (12 noon) ...... 72

Daily Illini Illio Technograph Buzz WPGU-FM the217.com Independent Univerity of Quarterly Weekly Commercial Entertainment student news Illinois engineering entertainment radio station Web site organization Yearbook magazine magazine

illinimedia.org to the 14th Annual Roger Ebert’s Film Festival

This year's festival is dedicated to Paul Cox

From Roger Ebert 26 in Foellinger Auditorium (a new determined that this would be ness set down in the middle of day and time made necessary be- the year. a field of mud. stars omething nice happened cause of a change in the shooting As you will see, John Patrick as the worker who hates his job to us while we were pre- schedule of Oswalt’s new film). Shanley’s film is so visionary and so much he welcomes a death paring the schedule for Patton Oswalt himself sug- epic in conception that it really sentence from his doctor. In the Ebertfest 2012, which plays April gests the same versatility; think requires a big screen like the Vir- spirit of , 25-29 at the Virginia Theater of the gulf between his characters ginia’s to make its ideal impact. I plays three different roles in the in Champaign-Urbana, Ill. We’d in “Big Fan” and 2011’s “Young can’t wait to see again that early film: As Joe’s secretary, and both invited Patton Oswalt to attend Adult.” In seeing “Big Fan” I was scene of dark skies lowering over daughters of Granamore (Lloyd with his “Big Fan.” He agreed and struck by how deeply he penetrat- its factory – a vast block of ugli- Bridges), who wants to hire Joe to went one additional step: “I’d ed to the heart of the character, be a human sacrifice. like to personally choose a film to sidestepping obvious openings for As I wrote in my show to the students, and discuss easy comedy and asking himself review: “I had it.” what many of us must have That sounded to me like a wondered: Who are those splendid idea, embodying the people who seem to live on spirit of this festival, which sports talk radio, as all- combines the love of good films knowing experts on first- with volunteerism. This is a rare name terms with the host? festival where no business takes “Big Fan” illustrates some- place. No films are bought or sold. thing I believe: The more No deals are signed. It’s simplicity specific a performance itself: We join in a classic 1920 is, the more universal it palace, 1,600 of us, and watch a can become. The film film as it should be seen, on a plays at 1 p.m. April vast screen with perfect sound. 26. Then we talk about them after- Now I’d like to wards. The festival and the the- discuss the rest of our ater come to us through the work selections in the order of countless volunteers from the they will appear. As al- University and the community ways, they were selected of Champaign-Urbana. On a more by me, in consultation mundane level, the considerable with the festival director, cost of the festival isn’t met by Nate Kohn. My wife Chaz, ticket sales, and is offset by our who will reprise her popular generous sponsors, who you’ll see role as emcee, also had major thanked on the screen before ev- input. ery screening. “Joe Versus the Volcano” Oswalt’s choice to show and (1990) will play at 7:00 p.m. April discuss is a natural for him: 25, as our opening night film. ’s “Kind Hearts and No film has almost played in Eb- Coronets” (1949), starring Alec ertfest more often than this one. Guinness – who plays eight differ- Nate may be able to confirm that ent members of the same family, it’s been shortlisted in at least men and women, ranging in age ten of the past years. Something over six decades. Sir Alec’s other always came along to crowd it roles in a long career included out. Because it was often rumored Hitler and Obi-Wan Kenobi. The to be a selection, people started movie will be shown free and open to badger me about when they’d to the public at 10:30 p.m. April finally be able to see it, and we

4 14th Annual Roger Ebert’s Film Festival not seen this movie before. Most it could not be more effective or entire world, including his trou- to explore cinema’s first 30 years movies, I have seen before. Most look more professional. Watching bled home life, his peers, and the after being introduced to silent movies, you have seen before. it made me realize that “Hotel solace he finds in solitude. Both films by the Alloy. Most movies are constructed out Rwanda,” powerful as it was, Wysocki and Azazal Jacobs, the di- On their travels, they usually of bits and pieces of other movies, gave the view from the top, and rector, will be with us in person. showcase feature-length films. like little engines built from cin- “Kinyarwanda” puts us inside the “On Borrowed Time,” a docu- But especially in the early years, ematic Erector sets. But not ‘Joe situation at ground level. mentary filmed largely during the a great many films were shorts. Versus the Volcano’.” I continue Rwandans commit the mur- most recent two years of Paul They’ve compiled a special pro- to believe it deserves greater rec- ders, suffer from the murders, Cox’s life, will play at 1:00 p.m. gram sampling those riches, and ognition, and cannot understand recover and repent. Interlocking Friday. Ebertfest has had no better call it “Wild and Weird,” playing why I gave it 3.5 stars instead of vignettes establish a vivid group friend than Cox, who has visited at 4:00 p.m. Friday. We will be four. of characters. Each one adds to us for the screenings of three of joined in the orchestra pit and “Joe” will be followed on the mosaic. Characters from one his films, “A Woman’s Tale,” “In- onstage by the Alloy’s members, opening night by a documentary turn up in another. Gradually a nocence” and “” (he Roger Miller, Ken Winokur and and a short spotlighting the pros- powerful outcome is arrived at. holds the festival record). From Terry Donahue. This screening is perous new generation of African- Finally Muslims and Catholics link the day in 1983 I saw “Man of sponsored by Steak ‘n Shake. American comedians. In John Da- hands to face the bloodthirsty Flowers” at the Interna- “A Separation,” at 8:30 p.m. vies’ “Phunny Business: A Black killers. What we’re seeing is South tional Film Festival, I’ve considered Friday, scarcely needs my intro- Comedy,” at 10:15 p.m. April 25, Africa’s truth and reconcilia- Paul one of the most principled, duction after winning this year’s we learn that an amazing number tion process at work in another sensitive and gifted of directors, Academy Award for best foreign of those careers were launched by situation. Among our guests will and his warmth will be known to film. But it was scheduled for a black comedy club in Chicago be Alrick Brown, the Jamaican the many who’ve met him here. Ebertfest 2012 long before that named All Jokes Aside. Name the writer-director; Cassandra Free- Paul very nearly died in 2009. happy day, and Nate and I had it successful black comedians since on our schedule soon after I saw 1990 who didn’t begin there, and it at the Toronto festival in Sep- you’d be making a very short list. tember 2011. It was my choice for The film is fascinating for It’s simplicity itself: We join in a classic the best film of last year. its memories of big names early This is an extraordinary film, in their careers, but also for its 1920 palace, 1,600 of us, and watch a film taking on an intractable moral inside look at Raymond C. Lam- dilemma and considering it in bert, the businessman who ran it as it should be seen, on a vast screen with such observant terms that we with precise professionalism and perfect sound. learn an enormous amount about steered it through the high seas the Iranian society and its people. of Chicago finance and politics. Given the constraints on filmmak- There’s an ironic lesson of some ers in , where the director sort to be learned when the club man, who plays Lieutenant Rose, His life was saved by a liver Jafar Panahi is now in prison, “A is finally undone by its own suc- and other members of the produc- transplant on Christmas Day of Separation” is an impressive feat cess. And a sad old lesson when tion team. that year, which came at the last for its director , it confronts racism. Ray Lambert “Terri,” at 8:30 p.m. April moment after a heartbreaking who focuses on the personal sto- will be with us in person. Also 26, contains two immediately series of delays. David Bradbury ries involved and leaves it to the John Davies, the director, who convincing performances, by had already started making this audience to determine right and began in Chicago television an Jacob Wysocki as an overweight documentary when Paul received wrong. unthinkable number of years ago and bullied 15-year-old, and John his terrifying diagnosis, and con- “I like to put a question mark by producing for and C. Reilly as an assistant principal. tinued to film as Paul confronted around the issues I’m concerned me. It’s easy to imagine that Reilly the prospect of death. Cox is con- about,” Farhadi told me in an in- Also live! on our stage! will be might also have been bullied in sidered one of Australia’s national terview. “This is a way of inviting the rising young African-Ameri- school. The film shows how their treasures, and we see here how the viewer to critique, without my can comedienne Kelechi Ezie, who relationship deepens and develops, his vision and spirituality helped views getting in the way. I prefer will show her short “The Truth and enlists our sympathy for a fat sustain him through the crisis. to add numerous question marks About Beauty and Blogs,” at kid who wears pajamas to school Paul will be joined on stage by to every issue. I think a cinema 10:00 p.m. After both films “because they fit.” At a time when Nate Kohn, who has become his that asks questions is preferable screen, she and Lambert will dis- bullying is being much discussed, close friend. This year’s Ebertfest is to a cinema that is stylistically cuss the current situation in her the film could not be more timely. dedicated to Paul Cox. critical.” Farhadi has told us he business, as contrasted to the All But it isn’t a simple message mov- The Alloy Orchestra returns hopes to attend the screening. Jokes Aside scene 20 years ago. ie; it’s a subtle and warm-hearted to Ebertfest for the 12th time this Remember the astonishing On Thursday, April 26, after exercise in empathy. year. Known globally for their visuals in ’s “The “Big Fan,” we’ll show another Wysocki, a rising young star, original compositions which ac- Tree of Life”that evoked the Big of this year’s new discoveries, also stars in “Fat Kid Rules the company silent films, they’re Bang and the evolution of life? “Kinyarwanda,” at 4:00 p.m. The World,” which just won an Au- based in Cambridge, Mass. Devot- Those were created in Urbana by film was made on a tight budget dience Award at SXSW. What I ed lovers of silent films, they’ve by the Advanced Visualization and shooting schedule and uses admire about this film is how ob- made many converts; festival- Lab and the eDream Institute at all local actors in Rwanda, but servantly it creates his character’s goers have told me they began continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 5 continued from previous page

the National Center for Super- gava was born and raised on the computing Applications, which South Side of Chicago, went to specialize in scientific visualiza- grade school and the Kenwood tions for movies and large-screen Academy. About 25 years ago, his productions. How were they father, Vijay Bhargava, started done? There’ll be a demonstration taking my film class in the Uni- of NCSA’s techniques from 9:30 versity of Chicago’s Fine Arts Pro- to 11 a.m. Saturday in the Pine gram. He was one of my favorite Lounge of the Illini Union, with students; we sat next to each moderators Donna Cox and Robert other in the back row, munching Patterson. on oatmeal cookies (I munched, “Higher Ground,” at 1:00 anyway). He and his family made p.m. Saturday, is a triumph for many trips home to relatives in , who directed and India, and from what he observed in a scene from “Take Shelter.” stars in it. It shows us a woman there, Prashant was inspired with whose need for religion, and her the idea of this film. He told me: Scenes like the pancake breakfast technique, I’ve often gone relationship to it, changes over “Dad spent over 25 years working are filled with small visual details through “Kane” and other films the years. We see her as a child, in the administration of Michael that will be familiar to anyone with an audience. The ground as a young woman of about 20, Reese Hospital. After 20 years who has ever attended one. And rules are simple: We show the and again around 40. It is espe- of attending your class and sup- consider the scene when the wife film. When anyone in the room cially perceptive in showing the porting my career as a director tells her husband it is time for sees something they want to way that belief, for her, is found- and designer, he has taken up them to go outside again. The discuss, they call out “Stop!” and ed to begin with on personal acting! He has taken over 25 acting, the direction and the we freeze the frame and discuss relationships with fellow believers classes at Chicago’s Act One Stu- camera strategy are uncanny. This it, sometimes nudging the film and her church, and later deepens dios.” Prashant, his father, and screening is sponsored by the forward or back one frame at a and is challenged by her accumu- many actors and crew members Champaign County Anti-Stigma time. In the early days, we did lating life experience. will attend the screening. Alliance. Michael Shannon, Jeff this on 16mm. Then laserdiscs. Like “Terri” and “A Separa- “Take Shelter,” playing at Nichols and Sony Pictures Classics Then DVDs. Now we have the new tion,” this is a film about issues 8:30 p.m. Saturday, is the sec- co-president Michael Barker will Blu-ray 70th anniversary edi- which avoids a message. It doesn’t ond Ebertfest film directed by be present in person. tion. I make no claims to be a tell us what to believe, nor does it and starring Michael “Citizen Kane” plays at noon distinguished expert on “Kane,” judge what the heroine believes. Shannon. “” on Sunday. It is often voted the but when you look at a film with It stands aside from a set inter- played here in 2008. This film greatest film ever made, but I thousands of eyes joining you, it’s pretation of right and wrong, and struck me immediately as featur- imagine everyone in the theater likely that sooner or later you’ll shows us the character Corinne in ing one of the best performances will have seen it before. So why have discussed just about every- context, as she tries to make the of the year, and the failure of the show it? Two reasons: (1) More thing discussable. right decisions for herself. The Academy to nominate Shannon is than most films, it benefits from Over the years, I did this screenwriter, Carolyn S. Briggs, an indication of the fairly narrow additional viewings. And (2) process many times with my film will appear in person. range of films it considers. several years ago, when I could class in the University of Chi- “Patang,” at 4:00 p.m. Sat- It seems clear to me that still speak and all of my troubles cago Fine Arts Program, and at urday, was an entry in the 2011 Shannon and Nichols must have were in the future, I recorded a the Conference on World Affairs Chicago Film Festival, when I worked closely together to create commentary track for the War- at the University of Colorado at first viewed it. I immediately the tension in this film between ner Bros. DVD. It was named by Boulder. I also did it at the Ca- thought of it for Ebertfest. I was reality and paranoia. Curtis, the Variety’s Video Premiere edition nadian Center for Advanced Film struck by the skill of its director, family man played by Shannon, as the best commentary track of Study, the Smithsonian Institute, Prashant Bhargava, in introducing seems disturbed in ways we can’t the year. the , the a large number of characters and quite put our finger on. Yet the It occurred to me that play- Virginia Festival of American Film, organically showing us how they events that terrify him seem real ing the commentary track might the Philadelphia Film Festival, the interacted, particularly within a enough. Again this year the na- be a way to sneak my speaking Hawaii Film Festival, the Walker family. The movie has interlock- tion is being punished by one voice back into Ebertfest. In the Art Center in Minneapolis and the ing stories that are clear enough, horrible tornado after another, early years of the festival, one of Savannah Film Festival. but it doesn’t follow a rigid narra- and if a father takes dramatic my great joys was to participate Savannah 2004 was the last tive map. It reminds me more of steps to try to protect his family, in the onstage discussions after time I did it. That year one of the ’s gift for plunging isn’t that justifiable? each film. These days I love the students at the Savannah Col- into the middle of a community The film does a masterful job sessions led by our guest modera- lege of Art and Design observed of characters and giving them of creating its family (Jessica tors. But indulge me and allow my something not pointed out in any freedom. Chastain is effortlessly convinc- voice to be heard one more time of my sessions in the previous 30 What a delight it was to learn ing as the wife), and Nichols has in the Virginia. years. I want you to watch for it. more about the filmmaker. Bhar- a sure touch for small town life. Using the scene-by-scene Wait for the scene where young

6 14th Annual Roger Ebert’s Film Festival Charlie Kane’s parents sign the Many sponsors have been with document making Mr. Thatcher his us all 14 years; some are with legal guardian. In the background, Our sponsors and volunteers make the us for the first time this year. through the window, you can see festival possible. Many sponsors have been Volunteers serve in many ways, the boy playing in the snow with including serving as drivers and his sled. The adults stand up and with us all 14 years; some are with us for guides for festival guests. Our walk into the back of the shot to festival couldn’t happen without watch him through the window. the first time this year. our dedicated sponsors and vol- Now I will quote from the article I unteers. We thank them for their wrote from Savannah: loyalty and continuing support. The scene ends as the three The festival is a production adults walk back towards the Chaz has been my right hand Champaign Police Department are of the College of Media of the window. “Stop! The chair moved!” in the planning of Ebertfest 2012. always helpful. Local volunteers University of Illinois at Urbana- somebody shouted. “Just as the Nobody will ever know how hard act as drivers and guides for our Champaign, whose dean, Jan camera tracks past the chair on the Nate Kohn and Mary Susan Britt guests. Betsy Hendrick throws her Slater, has been generous in her lower right,” the voice said, “the and her staff work on the festival. now-legendary Saturday night support and encouragement. chair moves out of the way.” Nate, an Urbana native now pro- party. Where would we be without Leone Advertising is our invalu- We reversed the film and looked fessor at the University of Georgia our fabled projectionists James able webmaster at ebertfest.com; at it again. The voice in the dark and administrator of the Peabody Bond and Steve Kraus, with the Carlton Bruett is responsible for was correct. The chair movement Awards, helps me choose the help of Travis Bird, who bring the posters and the look of the isn’t even subtle. An unseen hand films. He obtains the prints and their own digital projectors to festival; , my other clearly yanks the chair away from permissions. He and Mary Susan complement the theater’s vintage alma mater, produces this splen- the path of the camera. But be- work with our guardian angel, 35/70mm projectors? A shout- did program. A special thank cause our attention is naturally on Mary Frances Fagan of American out to our good friend Bertha you to our leading sponsors the the moving actors and not on an Airlines, to arrange transportation Mitchell, who serves her famous Champaign County Anti-Stigma obscure chair in the corner, we miss here. Mary Frances is another C-U downstate barbeque from the Alliance and Steak ‘n Shake. it. We miss it so completely that native, so you can see we haven’t tent in front of the theater. Try And very special thanks to in my 30 years of “Kane” shot- forgotten our roots. it! You’ll like it! The Illini Union University President-designate by-shots nobody had ever spotted Steven Bentz and his cheer- plays host for most of our guests Robert Easter and his wife it. Until now. “Thank you for the ful staff at the Virginia Theater in the heart of the campus. Cheryl, and Chancellor Phyllis chair,” I told the audience, quite put out the welcome mat. The Our sponsors and volunteers Wise, for their generous support. sincerely. and the make the festival possible.

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8 14th Annual Roger Ebert’s Film Festival from the University of Illinois

Dear Ebertfest Fan, alumnus Roger Ebert has made glue that allows cross cultural on our incredible arts scene here exchanges. To whatever extent his will be my first in Champaign-Urbana. He is the arts are ignored or starved, Ebertfest since becoming truly amazing. will mean that our ability to Chancellor. Yet, because I am thrilled that you are enhance cross cultural exchange of its loyal fan following, I supporting Ebertfest and will be less than optimal. feel as if I already know how supporting the arts. The Art and higher education this signature event magically intersection of the arts and preserve our culture. They transforms our campus and higher education is so vital preserve our civilization by our community into what I am for the health of a university creating critical thinkers. They going to boldly call Sundance community. Art museums, challenge us. They preserve Midwest. film and music festivals, and beauty. They create spaces of Am I overstating the performing arts centers on contemplation and reflection. significance of a five-day feast university campuses have the In the words of poet James of films, lectures, appearances responsibility of being on the Oppenheim they give us bread and spirited conversations cutting edge of discovery, just and roses. Phyllis Wise among film buffs? I don’t like scientific research must be. Thank you for being here. See Chancellor, University of Illinois at think so. Almost from the day In our ever expanding world, you at the Virginia Theatre! Urbana-Champaign I arrived I have heard of the our push to globalize, the arts lasting and positive impact our have the potential to be the

Welcome to Ebertfest! together to welcome home our direct this festival. It requires native son and alumnus who logistics that would humble he College of Media at takes great care in choosing the ordinary humans. And they work the University of Illinois films we need to see. tirelessly and graciously to make is proud to be your host The College of Media is proud this event the best each year. for Ebertfest. We appreciate to be your host for Ebertfest and Many thanks to our sponsors your support and delight in your our pride is only intensified by who return each year to make enthusiasm for what the next the 14 years of its success and Ebertfest possible. And to our few days bring to Champaign- its far-reaching effects. We are own community volunteers and Urbana. so grateful to Roger and Chaz for students – your support means Ebertfest is a very special time their loyalty and support. While the world to us. in our community. It’s a time the name Roger Ebert is known Finally, thanks to all of you – that we welcome movie lovers by many, we are so fortunate to the movie lovers. Your love of the from around the world who will know the man. Thank you for art of storytelling and filmmaking make Champaign-Urbana their keeping us near to your heart, keeps us looking towards the home for a week. It’s a time and sharing your love of the future. Thank you for your Jan Slater when we roll out the red carpet movies and moving making with support and for joining us for this Interim Dean, College of Media for the industry guests who all of us. Your homecoming every annual tribute to great movies come to share their experiences April is an event like no other. and to a great movie critic. making these films. It’s a time We all owe a debt of gratitude that the University of Illinois to Mary Susan Britt and Dr. Enjoy the show! and Champaign-Urbana come Nate Kohn who organize and

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 9 10 14th Annual Roger Ebert’s Film Festival from the Festival Director

t is a great privilege to wel- together friends and strangers in come you to the fourteenth a mutual emotional adventure. We are celebrating ... movies that Roger annual Roger Ebert’s Film Fes- When we sit in the darkened tival, a special event of the Uni- Virginia, both alone and to- considers worthy of our full attention, versity of Illinois’ College of Media gether, we enter another world, in partnership with the greater transported for a couple of hours films that reveal and reflect the wonder of Champaign-Urbana community from our everyday lives into the and lovers of movies everywhere. wondrous dreamscapes of shared the human condition. Our festival has changed little imagination. over the years, remaining true That is what this festival is all to Roger’s original vision: the about – about sharing, and com- continues to blossom each year in on fandor.com. Watch for their celebration and shared enjoyment munity, and Roger Ebert, and the the Central Illinois spring. team and welcome them to the of great movies, as they were love of great movies. A particular thanks goes out festival. meant to be seen by those who Together at this festival, we to our Film Circle Sponsors: Roger One of our most dedicated made them. Ebertfest is all about are seeing – and by seeing, we & , Champaign County sponsors, the Champaign County the films. We give no prizes, have are celebrating – movies that Anti-Stigma Alliance, American Anti-Stigma Alliance, in addi- no categories, and no business is Roger considers worthy of our Airlines & American Eagle, Steak tion to sponsoring our showing done at our festival. That’s how full attention, films that reveal ‘n Shake, and Betsy Hendrick; and of “Take Shelter,” is this year we conceived the festival and and reflect the wonder of the hu- to our Diamond Sponsors: Leone sponsoring a free post-festival that’s how it still is today. man condition. We are honored Advertising, Shatterglass Studios, screening of “Antwone Fisher.” In 1997, when Roger hosted to bring these movies to you, to L.A. Gourmet Catering, Fandor Please plan to attend at 4:00 p.m. a screening of “2001: A Space share Roger’s choices with you. and The News-Gazette. on Sunday, April 29, in the Vir- Odyssey” at the Virginia Theatre And we are seeing them as the Among those, we extend a ginia Theatre right after “Citizen as part of the University’s birth- women and men who made them hearty welcome to our newcom- Kane,” the concluding film of this day party for HAL the computer, intended them to be seen – with ers, Steak ‘n Shake and Fandor. year’s festival. We thank the Anti- we got to talking about what state-of-the-art projection and Roger has to be Steak ‘n Stigma Alliance for realizing the makes a successful film festival. sound on a screen the full width Shake’s biggest booster. In the power of film to change minds We agreed that movies are best of the Virginia Theatre. For that, early years of the festival, Roger, and attitudes, for supporting our seen on a really large screen. we thank our cinema designer Chaz, Dusty, Joan, and other festival, and for all the good they And watching a movie is not James Bond, projectionist Steve guests would invariably end up at do year after year in Champaign something to be done alone – it Kraus, and all the people at the Steak ‘n Shake after the last show County. is a communal activity, bringing Virginia Theatre and the Cham- on Thursday night and carouse Finally, I want to recognize paign Park District. there until the wee hours. In the Associate Festival Director Mary We also thank Michael Barker past few years, our Far Flung Cor- Susan Britt, Dean Jan Slater, and of Sony Pictures Classics, DuArt respondents always include Steak President-designate and Mrs. Film and Video, Reid Brody – ‘n Shake as a part of their tour of Robert Easter and Chancellor Filmworkers, First Independent festival landmarks. And of course Phyllis Wise, without whose Pictures, Visigoth Pictures, ATO Mary Susan and I have been hard work and enthusiastic Pictures, David Bradbury, Khushi known to frequent the South support this festival would not be Films, and Marilee Womack of Neil Street branch on more than possible. Warner Brothers for graciously one occasion during the festival. This festival is Roger Ebert’s providing us with their very best We look forward to a long and gift to his hometown, and for 35mm and digital prints. fulfilling association with Steak that we thank him and his wife I also want to thank all of our ‘n Shake. Chaz. They are a remarkable team, sponsors, volunteers, festival And Fandor is fast becoming and it is an honor to work with pass holders and individual ticket the place on line to watch the them. holders for their welcome par- best in independent films. During So as the lights dim and the ticipation in this endeavor. We the festival they will be recording curtains open, please sit back Nate Kohn look forward to their unwavering our panel and after-film discus- and let the festival once again Festival Director support, and yours, as our festival sions and making them available embrace you.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 11 Richard T. Jameson, editor, Film Comment (1990-2000)

/PX1MBZJOHBUB#PPLTUPSF/FBS:PV

12 14th Annual Roger Ebert’s Film Festival By Jill Disis, Daily Illini Staff Writer

ne of the Virginia the renovation. Theatre's oldest residents “Thanks to the recent is back — and it's return improvements … it is now a full has been music to patrons' ears. concert organ,” he said. “It can The Wurlitzer pipe organ, a play a full concert program at the staple since its installation and kind of volume that is required.” opening on December 28, 1921, One of the most noticeable spent a year away from the things about the new look is theatre to undergo renovations. actually a throwback to its But on March 31, patrons were original design — the fine, dark treated to the organ's rededication mahogany finish. Brian Davis ceremony that also celebrated the of John-Paul Buzard Pipe Organ theatre's 90th anniversary. Builders in Champaign, who Steven Bentz, the director of worked on the renovation process, the theatre, called the renovation said the finish resembles the “a lot of excitement.” exact original look the organ had “You can really feel it in your back in 1921. It's a bit different An organist plays the Virginia Theatre's renovated pipe organ on April 6, 2012. bones when all the stops are than the white paint finish that The organ received a new finish and new pipes among other changes during the out and it's really playing at full patrons might be used to. past year. Photo by Joseph Lee, The Daily Illini volume,” he said. “That's in large “Originally, it was a dark part due to the improvements stained mahogany and that was that were made during the a standard for the Wurlitzer renovation. … (It was) totally Company,” Davis said. “At some disassembled and then patiently point somebody repainted it … and lovingly put back together.” added some gold and details and The venture started, fanciness to the model. There is appropriately, out of love. Jill a model like that at Radio City Knappenberger made a large Music Hall — one of the few donation to the theatre's owner, that everyone knows about. They the Champaign Park District, painted it white like Radio City specifically to renovate the Music Hall and made it stand out theatre's historical pipe organ. It like that. We wanted to go for an was made to honor the memory original finish.” of her late husband, Gaillard — a Davis said other renovation music lover and musician. The work performed included donation helped kick start the polishing and fixing the organ's renovation process. pipes, many of which had Bentz said the organ started been smashed or damaged, Electronics replace some of the old wiring of the instrument, but much of the organ — especially the main counsel from the keyboards to the pipes to the life as the music accompaniment and rebuilding the counsel petals — play like the instrument did before. Photo by Joseph Lee, The Daily Illini for the silent movies the theatre and keyboard. They also used used to play. The instrument was electronics to replace many of meant to replace an entire group the wires connecting the counsel (components).” he said. “It's kind he's happy with the work of musicians when a company to the basement, where the of the mix of the best of both accomplished. could not afford to have an entire instrument's wind and regulation worlds.” “That made all of the hard pit orchestra in a theatre. But system begins. Bentz said the company work and — literally — sweat even then, Bentz said the sound “We stuck through to the included some other new and blood worth it, to get people quality was not as versatile as original design on that but components, including a “full really excited and laugh their what has been accomplished by tried to simplify some of the fanfare of special sounds” ranging heads off at the first recital.” from drums to horns and even a The organ isn't the only part glockenspiel. of the theatre with a new look. “The thing that is so Bentz said the theatre itself will You can really feel it in your bones when delightful about the restoration of “go dark” in May for a renovation this instrument is to see and feel of the auditorium. It will reopen all the stops are out and it's really the power that has been brought in March or April of 2013. In the playing at full volume. out with this renovation,” he meantime, some of the theatre's said. special programming over the - Steven Bentz - Davis called the organ's summer and fall will take place recent recital a success, saying outdoors.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 13 of events for Roger Ebert’s Film Festival Presented by the College of Media April 25-29, 2012

FILM SCREENINGS SPECIAL POST-FESTIVAL SCREENING Wednesday, April 25, 2012 Sunday, April 29, 2012 7:00 p.m. Joe Versus the Volcano 4:30 p.m. Antwone Fisher 10:00 p.m. The Truth About Beauty and Blogs Free and open to the public 10:15 p.m. Phunny Business: A Black Comedy The Champaign County Anti-Stigma Alliance is pleased to announce that they will have a special showing of "Antwone Thursday, April 26, 2012 Fisher" immediately following the close of Ebertfest (April 1:00 p.m. Big Fan 29). The Anti-Stigma Alliance is a community collaboration which works to address and challenge the negative impact of 4:00 p.m. Kinyarwanda stigma. This screening will be at the Virginia Theatre at 4:30 8:30 p.m. Terri p.m. and it will be free to the public. 10:30 p.m. Kind Hearts and Coronets Hosted by Patton Oswalt NOTE: This screening is at Foellinger Auditorium LIVE WDWS ON-AIR INTERVIEW University of Illinois campus Free and open to the public Please Tune In to WDWS-AM 1400! Wednesday, April 25, 2012 Friday, April 27, 2012 9:00 a.m. – 10:00 a.m. 1:00 p.m. On Borrowed Time Jim Turpin’s (WDWS) Ebertfest Interview 4:00 p.m. Wild and Weird with the Alloy Orchestra 8:30 p.m. A Separation ACADEMIC PANEL DISCUSSIONS

Saturday, April 28, 2012 Illini Union 1401 Green Street, Urbana, IL 1:00 p.m. Higher Ground Free and open to the public 4:00 p.m. Patang 8:30 p.m. Take Shelter Thursday, April 26, 2012 9:00 a.m. – 10:15 a.m. Sunday, April 29, 2012 The Personal and Political in Film 12 noon Citizen Kane Moderated by Nate Kohn Pine Lounge, 1st Floor

All films except "Kind Hearts and Coronets" will be shown at the 10:30 a.m. – 11:45 a.m. Historic Virginia Theatre, 203 W. Park Ave., Champaign, IL. Roger Far Flung Correspondents: What's New Around the World? and festival guests will appear on stage after each film to join the Moderated by Omer Mozaffar audience in discussions about the films. Festival passes ($135), Pine Lounge, 1st Floor individual tickets ($13) and student & senior citizen tickets ($11) are on sale at the Virginia Theatre box office, at 217-356-9063.

14 14th Annual Roger Ebert’s Film Festival ACADEMIC PANEL DISCUSSIONS SPECIAL PRESENTATION Friday, April 27, 2012 Free and open to the public BNoBN Saturday, April 28, 2012 Underrepresented Cinematic Voices BNoBN  .PEFSBUFECZEric Pierson The Tree of Life: Making Movies Using Scientific Data  1JOF-PVOHF TU'MPPS  .PEFSBUFECZDonna Cox and Robert Patterson  *MMJOJ6OJPOo1JOF-PVOHF TU'MPPS BNoBN ON DEMAND: Movies Without Theaters 5IF"EWBODFE7JTVBMJ[BUJPO-BC "7- BOEF%SFBN*OTUJUVUFBUUIF /BUJPOBM$FOUFSGPS4VQFSDPNQVUJOH"QQMJDBUJPOT /$4" 6OJWFSTJUZPG .PEFSBUFECZJim Emerson *MMJOPJT EFWFMPQTDJFOUJGJDWJTVBMJ[BUJPOTGPSNPWJFTBOEMBSHFTDSFFO  1JOF-PVOHF TU'MPPS QSPEVDUJPOT5IFJSMBUFTUXPSLTJODMVEF5FSSBODF.BMJDLT5IF5SFFPG -JGF 550- OPNJOBUFEGPS"DBEFNZ"XBSET"7-TBTUSPQIZTJDBM TDFOFTGPS550-JODMVEFBWJTVBMJ[BUJPOPGUIFGJSTUTUBSTJOUIF WORKSHOP VOJWFSTFHPJOHTVQFSOPWBBOEBGMJHIUUISPVHIUIF.JMLZ8BZHBMBYZ "7-XJMMQSFTFOUUIFJSVOJRVFQSPDFTTNBLJOHBOJNBUFETDJFOUJGJD Free and open to the public JNBHFSZBOEGPDVTPOWJSUVBMDBNFSBXPSL DJOFNBUJDUSFBUNFOUBOE UIFDIBMMFOHFTPGSFOEFSJOHTDJFODFGPSNPWJFFOUFSUBJONFOU5IF Saturday, April 28, 2012 QBOFMXJMMJODMVEFBEFNPOTUSBUJPOPG/$4"TWJTVBMJ[BUJPOTBUUIF*MMJOJ 6OJPOIUUQBWMODTBVJVDFEVFESFBNJMMJOPJTFEV BN – BN Shooting Your Short Film DIRECTIONS TO THE ILLINI UNION:  1SFTFOUFECZDon Tingle From the Virginia Theatre to the Illini Union:  *MMJOJ6OJPOo(FOFSBM-PVOHF OE'MPPS t5VSO3*()5 TPVUI POUP//&*-453&&5 t5VSO-&'5POUP&413*/('*&-%"7&/6& :PVIBWFBTDSJQU BDUPSTBOEMPDBUJPOTù/PXXIBUEPZPV t5VSO3*()5POUP483*()5453&&5 EP ù5IJTXPSLTIPQXJMMTIPXZPVIPXUPTIPPUZPVSTIPSUmMNù t5VSO-&'5POUP8(3&&/453&&5 %JSFDUJOH DBNFSBXPSL MJHIUJOH TPVOEyBOEUIFBMMJNQPSUBOU t5IF*MMJOJ6OJPOXJMMCFPOUIFSJHIU DSBGUTFSWJDFTù8FMMCSFBLJUEPXOBOEEFNPOTUSBUFUFDIOJRVFT  TLJMMTBOEFRVJQNFOUù#FHJOOJOHBOEJOUFSNFEJBUFmMNNBLFSTXJMM CFOFmUGSPNUIJTXPSLTIPQù0VSGPDVTJTPOIPXUPHFUUIFiCJH CVEHFUwMPPLGPSMJUUMFPSOPNPOFZ XIFUIFSZPVBSFTIPPUJOHXJUI QSPGFTTJPOBMFRVJQNFOUPSBDFMMQIPOF8FMMEJTDVTTUIFTFRVFODF PGFWFOUTUIBUIBQQFOPOTFU SPMFTBOESFTQPOTJCJMJUJFTPGDBTUBOE DSFX XIBUTIPUTUPHFU XIFSFUPQVUBOEIPXUPNPWFUIFDBNFSB  JNBHFDPNQPTJUJPOBOEDSFBUJWJUZ TJNQMFMJHIUJOHUFDIOJRVFTBOE TLJMMTUIBUXJMMIFMQZPVQSPEVDFZPVSNPWJF'JMNNBLJOHJTBSBQJEMZ CFDPNJOHBDPNQFUJUJWFTQPSUXJUIKVSJFEGFTUJWBMTBOEPOMJOF DPOUFTUTù8FFLFOEmMNNBLFSTBSFCSFBLJOHOFXHSPVOEUFMMJOH DPNQFMMJOHTUPSJFTXJUIDSFBUJWFWJTVBMTBOESFBDIJOHXPSMEXJEF BVEJFODFT5IJTXPSLTIPQJTBQQSPQSJBUFGPSBMMBHFHSPVQT ù .S%PO5JOHMFJTUIF8PSLTIPQ%JSFDUPSGPSUIF"MBCBNB'JMNNBLFST $PPQ%POIBTQSFTFOUFEPWFSXPSLTIPQTPOWBSJPVTBTQFDUT PGMPXCVEHFUBOEBNBUFVSNPWJFNBLJOHGPSUIF/PSUI"MBCBNB DPNNVOJUZBOENVMUJQMFSFHJPOBMmMNGFTUJWBMTù%POIBTùTFSWFE BTIPTUBOENPEFSBUPSGPSQBOFMEJTDVTTJPOTBUGFTUJWBMTBOEIBT JOUFSWJFXFEBDUPST TDSFFOXSJUFSTBOEmMNNBLFSTù%PODSFBUFEBOE PQFSBUFTBmMNNBLJOHTVNNFSEBZDBNQGPSLJETBOEJTQSPHSBNNFS BOEIPTUPG)VOUTWJMMFTBOOVBM3PDLFU$JUZ4IPSU'JMN'FTUJWBM

FOR FESTIVAL INFORMATION

For more information contact: .BSZ4VTBO#SJUUBU NBSTVF!JMMJOPJTFEVPS

(PUPwww.ebertfest.comUPSFBEPVSOfficial Festival Blog CZ3PHFS&CFSUT'BS'MVOH$PSSFTQPOEFOUTBOEPUIFST

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 15 16 14th Annual Roger Ebert’s Film Festival What you need to know about the Festival

TICKET INFORMATION t0OMZGFTUJWBMQBTTIPMEFSTBSF FESTIVAL TICKET POLICY BMMPXFEJOUIFUIFBUSFCFUXFFO t"'FTUJWBM1BTTUPBMM TDSFFOJOHT1MFBTFXFBSBOE MERCHANDISE 5IFOVNCFSPGGFTUJWBMQBTTFT TDSFFOJOHTJT IBWFZPVSQBTTWJTJCMFBUBMM %VSJOHUIFGFTUJWBM ZPVMMGJOE TPMEJTMJNJUFEUP"O BEEJUJPOBMTFBUTBSFSFTFSWFE t*OEJWJEVBMUJDLFUTBSF UJNFT'FTUJWBMTUBGGXJMMCF HSFBUNFSDIBOEJTFJOUIFFBTU GPSJOEJWJEVBMUJDLFUIPMEFSTBOE 4UVEFOUBOE4FOJPS$JUJ[FO DIFDLJOHGPSUIFN MPCCZPGUIF7JSHJOJB5IFBUSF TQPOTPST8FXBOUUPNBLFTVSF UJDLFUTBSF t"GFTUJWBMQBTTHVBSBOUFFT UIBUFWFSZPOFXIPXBOUTUP t'FTUJWBMQBTTFTBOEUJDLFUT TFBUJOHUPBMMTDSFFOJOHT SOLD OUT FILMS BUUFOEUIFGFTUJWBM‰CFJUGPS BSFBWBJMBCMFBUUIF7JSHJOJB 4IPSUMZCFGPSFFBDIGJMNCFHJOT  POFGJMNPSBMMPGUIFN‰DBOCF 5IFBUSF PS BOZFNQUZTFBUTXJMMCFTPMEUP *GZPVXBOUUPTFFBGJMNUIBU BDDPNNPEBUFE XXXUIFWJSHJOJBPSH JOEJWJEVBMUJDLFUIPMEFSTXBJUJOH JTTPMEPVU HPUPUIF7JSHJOJB JOMJOF-BUFDPNFSTDBOOPUCF 5IFBUSF#PY0GGJDFNJOVUFT t'FTUJWBMQBTTFTDBOCFQVSDIBTFE HVBSBOUFFEBENJUUBODF/05& CFGPSFUIFTDSFFOJOHUJNFBOE POMJOFBUXXXFCFSUGFTUDPNPS 1BTTIPMEFSToQMFBTFBSSJWF XBJUJOUIFSVTIUJDLFUMJOF NO RECORDING, XXXUIFWJSHJOJBPSH NJOVUFTCFGPSFFBDITDSFFOJOH 4IPSUMZCFGPSFUIFGJMNCFHJOT  PLEASE ... t"MMUIFGJMNTBSFTDSFFOFEBUUIF t1BTTFTUJDLFUTDBOOPUCF BOZFNQUZTFBUTXJMMCFTPMEPO $PQZSJHIUMBXTUSJDUMZQSPIJCJUTUIF IJTUPSJD7JSHJOJB5IFBUSF 8 SFGVOEFEPSFYDIBOHFE BGJSTUDPNF GJSTUTFSWFECBTJT VTFPGBOZUZQFPGVOBVUIPSJ[FE 1BSL"WF $IBNQBJHO *- NOTE: At every festival since 2002, WJEFPPSTPVOESFDPSEJOH t5IF7JSHJOJB5IFBUSFJTFRVJQQFE all patrons waiting in line for FRVJQNFOU JODMVEJOHDFMMQIPOFT  XJUIXIFFMDIBJSBDDFTTJCMF tickets for sold out films were able PANEL DISCUSSIONS SFTUSPPNTBOEBEKBDFOU to get in. DPNQBOJPOTFBUJOH5IF 1BOFMEJTDVTTJPOTXJMMCFIFMEBU 7JSHJOJB5IFBUSFIBTGJWFTMPUT UIF*MMJOJ6OJPO 8(SFFO GPSXIFFMDIBJSQBUSPOT1MFBTF 4U 6SCBOB *-JOUIF1JOF-PVOHF DBMMUIFUIFBUSF POUIFTUGMPPSBOEUIF(FOFSBM CFGPSFUIFGFTUJWBMCFHJOTUP All Q&A sessions and panel discussions -PVOHFPOUIFOEGMPPS BSSBOHFTFBUJOH/05&'PS will be streamed live on the Internet at t5IVSTEBZ "QSJM  FWFSZQBUSPOJOBXIFFMDIBJS t'SJEBZ "QSJM  POMZPOFDPNQBOJPONBZ t4BUVSEBZ "QSJM  BDDPNQBOZBQFSTPOSFRVJSJOH BXIFFMDIBJSTQPU"MMPUIFS BDDPNQBOZJOHQBUSPOTXJMMOFFE FESTIVAL UPDATES UPTJUFMTFXIFSF 6QEBUFETDIFEVMFTBOEJOGPSNBUJPO t"TTJTUFEMJTUFOJOHEFWJDFT XJMMCFQPTUFEPOUIFGFTUJWBMT BSFBWBJMBCMFVQPOSFRVFTUBU XFCTJUFXXXFCFSUGFTUDPN UIF7JSHJOJB5IFBUSF"TJOHMF FBSQJFDFCVE FBSTQFBLFS PS OFDLMPPQNBZCFVTFECZB THEATRE GUIDELINES QBUSPOUPIFMQFOIBODFUIFJS FOKPZNFOUPGUIFQFSGPSNBODF t5IFBUSFEPPSTXJMMPQFO ONE %FWJDFTNBZCFPCUBJOFEBUUIF HOUR QSJPSUPUIFFIRST CPYPGGJDFCFGPSFUIFTIPX BOE TDSFFOJOHPGUIFEBZ5IJT BQFSTPOBMDSFEJUDBSEPSESJWFST BQQMJFTUPFWFSZPOF BMM MJDFOTFXJMMCFIFMECZUIF QBTTIPMEFSTo7*1BOE'FTUJWBMo UIFBUSFTUBGGVOUJMUIFEFWJDFJT BOEJOEJWJEVBMUJDLFUIPMEFST  SFUVSOFEBUUIFDPNQMFUJPOPG t4FBUJOHGPSFBDIGJMNXJMMCFHJO UIFQFSGPSNBODF'PSTQFDJGJD BQQSPYJNBUFMZNJOVUFTCFGPSF RVFTUJPOTBCPVUUIFBTTJTUFE FBDITDSFFOJOHUJNF4FBUJOHJT MJTUFOJOHEFWJDFT QMFBTFDBMM HFOFSBMBENJTTJPOPOMZ/05& UIFCPYPGGJDFBU 4PNFTFBUTXJMMCFSFTFSWFEGPS tNo outside food or drink JO TQFDJBMHVFTUTPGUIFGFTUJWBM UIF7JSHJOJB5IFBUSF 1MFBTFSFTQFDUUIFEFTJHOBUFE BSFBT t4NPLJOHJTQSPIJCJUFEJOUIF 7JSHJOJB5IFBUSF All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 17

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 19 By Joe Ward, Daily Illini Staff Writer

oger Ebert wrote in Ebert and wife Chaz donated his review of “The Tree $1 million for the creation of of Life” that the film a film studies center that will reminded him of childhood in be named after the Pulitzer Urbana “where life flows in and prize winner. Also, Ebert is out through open windows.” planning to gift the University “About a town that somehow, library system footage from his in memory, is always seen with a syndicated television show and wide-angle lens.” has said he will donate more That wide-angle lens is sure materials to the library in the to be cast on Urbana once more coming years. with Ebert’s 14th annual film Angharad Valdivia, festival, a weekend of culture department head of Media that contributes more to the and Cinema Studies, said the romantic portrayal of life in creation of the Roger Ebert Urbana that Ebert so frequently Center for Film Studies would evokes. have a tremendous impact on Beyond shout-outs in high the University. profile movie reviews, Ebert “It won’t compete with has done more for Champaign- a NYU or UCLA, but it would Urbana than perhaps any be very great to have such a other University alumnus. program here at Illinois,” she His contributions to the said. University, the city’s culture, Media and Cinema Studies and even The Daily Illini are majors benefit greatly from the invaluable, according to sources local film festival, Valdivia said, who’ve benefitted from Ebert’s because of the possibility of generosity. interaction with people on the production side of film. “He gets national figures, amazing people, to come to Champaign-Urbana, where you can actually interact with them,” she said. “Unlike () you can get engagement that is close to one- on-one.” Roger Ebert donated $1 million for the creation of a film studies center at the The film festival puts University that will be named after him. Ebert has donated footage from his Champaign-Urbana on the syndicated television show to the University. He also says he will donate more cultural map for the weekend, materials to the University library system in the coming years. but it has many other tangible effects, too. According to Terri A young Roger Ebert during his college Reifsteck of the Champaign Bureau, the festival is a boom to connotations and recently years. County Convention and Visitors business in the downtown area, helped spearhead a funding particularly to establishments initiative for the nonprofit Illini close to the Virginia Theatre. Media company. He gets national figures, amazing people, She said people from out of But perhaps even more town stay in area hotels for impressive is the body of work to come to Champaign-Urbana, where you multiple nights and frequent he left for discovery by any DI local restaurants and bars during staffer who decides to casually can actually interact with them. their stay. browse the paper’s archives Ebert’s time with and library. A former editor-in- Unlike (Los Angeles) you can get subsequent support for The Daily chief, Ebert covered events as Illini has been well recorded. He far flung as apartheid in South engagement that is close to one-on-one. interjected when the company Africa (which he documented - Angharad Valdivia - debated changing the paper’s in a beautifully written multi- name due to it’s Native American part series following a student

20 14th Annual Roger Ebert’s Film Festival That was Roger in a nutshell: He was a sponge soaking up every new experience offered by life as he ventured outside what had been a fairly narrow background growing up in Central Illinois. - Karen Petitte -

trip) and as personal as the nutshell: He was a sponge assassination of President John soaking up every new experience F. Kennedy, where his weighty, offered by life as he ventured contemplative prose would outside what had been a fairly console the most grief-stricken narrow background growing up student of the day. in Central Illinois.” Wrote Ebert’s former A narrow background viewed editor Karen Petitte in a through a wide-angle lens, commemorative publication maybe “The Tree of Life” director Karen Petitte, the editor-in-chief of The Daily Illini during Roger Ebert's tenure. celebrating ’s 100 Terrence Malick should buy the Here she poses during her school years with a copy of the DI. Petitte says Roger years: “That was Roger in a rights to that movie. was like a "sponge" soaking up information.

JOIN US AT

IN URBANA

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 21 Roger and Chaz, CONGRATULATIONS ON YOUR

ON BORROWED TIME | Ebertfest 2012 14th festival! OPENING NIGHT | Ebertfest 2011

Welcome

back, Paul. You represent the heart and soul of Ebertfest.

Betsy of Hendrick House Paul Cox, fi lmmaker

A WOMAN’S TALE | Ebertfest 2000 INNOCENCE | Ebertfest 2002 MAN OF FLOWERS | Ebertfest 2007

22 14th Annual Roger Ebert’s Film Festival A warm welcome to our 2012 Special Festival Guests

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 23 Midwest. Brody is also co-founder Big Fan and principal of 2DS Productions, an independent movie and (Thursday, April 26, 1:00 p.m.) entertainment company, which Mike & Michelle Wellens produced "Nothing Like the ROBERT SIEGEL (director) is a Holidays" for Overture Films in -based screenwriter and 2008 and currently has three director. His directorial debut, Big proudly support movies set for production in Fan, was nominated for the Grand 2012. Brody is an accomplished Jury Prize at Sundance 2009. The writer, director, songwriter and film also earned nominations for 2012 Ebertfest! music producer as well. He resides Best Picture at the 2010 Gotham in Chicago. Awards and the John Cassavetes Prize at the 2010 Independent We cordially invite you to come see Michelle ALI LEROI (comedian) is the Spirit Awards. Siegel is also the sing with her band, the Gavin Stolte Project.. Emmy®-winning executive writer of the Darren Aronofsky- producer/director of the new hit directed film "The Wrestler," TBS series "Are We There Yet?," for which Siegel earned a Best which begins its syndication Original Screenplay nomination at They Rock! run in June 2012. Based on the 2009 WGA Awards. From 1996 the hit film of the same name, to 2003, Siegel served as editor- LeRoi partnered with Joe Roth in-chief of the satirical newspaper of Revolutions Studios, Ice Cube, , where he won the July 1, 6:30pm–8:00pm July 11, 6:30pm–8:00pm and Matt Alvarez of Cubevision to 1999 Thurber Prize For American Humor and edited the #1 New York Hessel Park Crystal Lake Park develop the show for TV. Times bestselling book "Our Dumb Champaign Park District Urbana Park District LeRoi is also the co-creator of Century." A native of Long Island, Summer Concert Series Summer Concert Series the critically acclaimed comedy "Everybody Hates Chris," inspired N.Y., he lives near Union Square by the childhood experiences of with his wife and son. comedian and currently Like us on Facebook! in syndication. He is a Golden PATTON OSWALT (actor) won Globe® nominee, a two-time critical acclaim in Robert NAACP Image Award winner, a Siegel’s feature film "Big Fan" WGA nominee and winner of the (2009), which made its debut at 2007 AFI TV Program of the Year Sundance in January 2009 and was award. distributed by First Independent Major motion picture credits Pictures. Patton recently filmed include producing and co-writing his new live-action PROJECT TE TV series "The Heart, She Holler," "Head of State" and "Down to Earth," as well as producing film "Scoutmasters" with Johnny CUSTOM SCREEN PRINTING & EMBROIDERY cult-favorite "." Knoxville, and starred alongside 2209 EAST UNIVERSITY AVENUE URBANA, IL Although most comfortable in in "Young his positions of show-runner and Adult," receiving a Critic’s Choice nomination for Best Supporting REUNIONS FRATERNITIES director, LeRoi occasionally lends his voice or musical talents to Actor. BUSINESSES SORORITIES his productions, having voiced As a comedian, Patton has CHURCHES BANDS several characters and written shot four TV specials and two SCHOOLS SPORTS pieces of music for several critically acclaimed albums. In episodes of the series and films August 2009 he released his third he’s produced. LeRoi was formerly album, as well as a Comedy Central a stand-up comic, and toured One Hour Special "My Weakness Is extensively with his close friend Strong," which received a Grammy , before transitioning nomination for "Best Comedy into television, where his career Album." He now tours regularly, took off. headlining both in the United LeRoi is currently developing States and United Kingdom. In a new slate of projects back addition, he has a bi-monthly at home in LA. Originally from show at the new Largo at the Chicago, he has been married for Coronet Theater in Los Angeles. 19 years and has two sons. Patton was a series regular on Showtime’s " 21217-344-98337-344-9833 of Tara," and played Spence on "The King of Queens" on CBS for [email protected] nine seasons. He appeared on "The Sarah Silverman Program,"

24 14th Annual Roger Ebert’s Film Festival "Flight of the Conchords," in Education. Since then he has "Seinfeld," "Reaper," "Aqua Teen devoted his energy to changing Hunger Force" and "Tim and Eric’s the world by giving a voice to the Awesome Show, Great Job!" He voiceless and telling stories that also recurred on SyFy’s new series otherwise would not be told. "Caprica." Patton is a regular Brown’s collective work has contributor to "Countdown with screened in over 40 film festivals, Keith Olbermann," "Real Time national and international, and with Bill Maher" and Lewis Black’s received numerous awards. He and "Root Of All Evil." his co-producer, received the HBO Patton appeared in Steven Life Through Your Lens Emerging Soderbergh’s feature film "The Filmmaker Award to produce their CHOICE AGED Informant!" and "Observe and critically acclaimed documentary Report" with Seth Rogen. Patton "Death of Two Sons." In 2004, RIBEYE STEAKS, starred in "The Comedians of he was one of four NYU students SALAD BAR Comedy," which was shot as an featured in the IFC Documentary independent feature film, a TV series "Film School," produced COCKTAILS & WINE series and a long-running tour. by Academy Award-nominee Serving dinner 7 nights Patton has also appeared in Nannette Burstein. In 2007 he from 4:30 pm more then 20 films, including addressed the Motion Picture "Magnolia," "Starsky and Hutch" Association of America on C-SPAN. No Lunch Served and "Reno 911!: Miami." "Kinyarwanda" marks Brown’s Patton provided the voice for feature film directorial debut. Private lunch menu available Remy, the rat, in Pixar’s Oscar- only for meetings and banquets winning "Ratatouille." He also ISHMAEL NTIHABOSE (executive of 25-100 persons voices characters on "Word Girl" producer, writer) is a Rwandan- and TBS’s "Neighbors from Hell." born filmmaker who after (217) 351-9115 Patton’s first published book working on "Sometimes in April," "Spaceship Zombie Wasteland" has "Shooting Dogs" and "Shake Hands 1701 S. Neil Stree5:*#.1#+)/ recently been released and was on with the Devil" as an assistant, (A short walk directly SE of Hawthorne Suites) Best Seller List decided that he was ready to step for January 2011. out on his own. As executive In May 2011, Patton filmed producer he brought together a his newest hour special "Patton team of international filmmakers Oswalt: Finest Hour" which airs on to bring his first feature film, Showtime and Comedy Central. "Kinyarwanda," to life. SUPPORTING OUR COMMUNITY DARREN DEAN (producer) came to film late in life, writing, directing and producing the Kinyarwanda award-winning short, "Sleep (Thursday, April 26, 4:00 p.m.) Over." He followed that up as co-writer and producer of "Prince ALRICK BROWN (producer, of Broadway," which has won 18 director, writer) has a MFA from prestigious awards internationally POINT NYU’s Tisch School of the Arts. to date. Dean, also a respected A filmmaker and teacher, he journalist, is currently in pre- has found his calling writing, production as writer/producer on directing and producing narrative the big screen adaptation of Will films and documentaries often Eisner’s "A Contract With God." focusing on social issues affecting the world at large. For over two TOMMY OLIVER (producer) Chuck Eyman Steve Tock Jan Miller Mark McHale years he served as a Peace Corps began his filmmaking career At Hickory Point Bank & Trust, we believe in the importance volunteer in Cote d’Ivoire. The during his junior year at Carnegie of giving service and support to our community. That’s why interactions with the people of his Mellon University resulting in we’re proud to support this event. village and his overall experiences the indie film "Sofia For Now." in West Africa have informed his After college, Tommy co-founded creative expression; an expression film production company, Black first fostered by his birth in Squirrel Films where he produced Kingston, Jamaica and migration several award winning shorts, to, and upbringing in Plainfield, commercials and the feature N.J. A fluent French speaker, he film "Blank." He is currently in graduated from Rutgers University 701 Devonshire Drive | Champaign, IL | 217.351.7100 with a BA in English and a Masters continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 25 pre-production on the big screen Terri adaptation of Will Eisner’s "A Contract With God." (Thursday, April 26, 8:30 p.m.)

DEATRA HARRIS (co-producer) AZAZEL JACOBS, (writer, Deatra L. Harris has written, director) son of avant-garde produced and directed several filmmaker Ken Jacobs, was born short films, including "Addicted" in 1972 and raised in New York’s and "A Woman’s Worth," which lower Manhattan surrounded by have shown at film festivals important and innovative artists. across the United States as well He went to undergraduate school as internationally. She holds a BA at the film department of SUNY in MIS/Math from Bowling Green Purchase and received his Masters State University and is currently from the American Film Institute developing a feature length in 2002. narrative and animation. During his study, he made the experimental piece "Nobody Needs CASSANDRA FREEMAN (actor) is To Know." Two years later he Bullock teemed up with fellow filmmaker an established star of both stage and screen. She has appeared on Gerardo Naranjo to make the and Associates Broadway in "Seven Guitars" and micro budget feature "The on TV in "Guiding Light," "All My GoodTimesKid," which found a Children," "Shark" and "Numb3rs." small, but loyal following and was On the big screen, Freeman came released by Benten Films in 2009. to international recognition with Azazel’s award-winning roles in Chris Rock’s "I Think I "Momma’s Man" premiered at Educational Love My Wife" and ’s Sundance 2008, and quickly "Inside Man," where she starred became one of the most lauded alongside . She films of the year, winding up Consultants is a graduate of both Florida State on many "best of" lists. It was University and NYU’s prestigious distributed domestically by Kino acting programs. International. Manohla Dargis in the NY Times declared it EDOUARD BAMPORIKI (actor) "independent film defined." is an award-winning filmmaker, "Terri," a coming of age comedy/ Supporting actor and poet. As a young drama, premiered in competition Rwandan artist, he has received at the 2011 Sundance Film Ebertfest national and international Festival and internationally attention for his stories of in competition at the Locarno from the beginning! hope, unity and reconciliation. Film Festival. It was released Bamporiki was born in a small domestically by ATO Pictures in village in the Western province, July of 2011. educated in Rwandan schools and lives in the capitol city of Kigali. JACOB WYSOCKI (actor) landed His feature debut in Lee Isaac his first professional acting job Chung’s "Munyrangabo" yielded with a recurring role on the ABC him a Best Actor nomination Family series "Huge." He followed Congratulations in Cannes. In 2008, he wrote, this up with a critically-acclaimed directed, starred in and produced turn in the 2011 Sundance Roger and Chaz! "Long Coat," which won first standout "Terri," starring in the prize in African Film at the Focus title role opposite John C. Reilly. Future Film Festival in New York. Jacob received a Gotham Award nomination for Breakthrough HADIDJA ZANINKA (actor) Actor for "Terri" and was A Burundi born Rwandese, highlighted by The Huffington Hadidja makes her film debut Post as one of 2011’s Fresh Faces in the demanding role of Jean in Movies. in KINYARWANDA. Returning to Jacob will next be seen in Rwanda with her family following Matthew Lillard’s directorial the Genocide in late 1994, she is debut "Fat Kid Rules the World," currently completing her studies set for its world premiere at in Travel and Tourism and aspires the 2012 to take the film world by storm. Film Festival. He most recently completed production on the

26 14th Annual Roger Ebert’s Film Festival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ind Hearts and GPVOEQFSDVTTJPOBOETUBUFPG Coronets UIFBSUFMFDUSPOJDTHJWFTUIF 0SDIFTUSBUIFBCJMJUZUPDSFBUF (Thursday, April 26, 10:30 p.m.) BOZTPVOEJNBHJOBCMF6UJMJ[JOH UIFJSGBNPVTSBDLPGKVOLBOE NOTE: This screening is at FMFDUSPOJDTZOUIFTJ[FST UIFHSPVQ Foellinger Auditorium on the HFOFSBUFTCFBVUJGVMNVTJDJOB University of Illinois campus. TQFDUBDVMBSWBSJFUZPGTUZMFT5IFZ Free and open to the public. DBODPOKVSFVQBTJNQMF(FSNBO CBSCBOEPGUIFTPSB'SFODI PATTON OSWALT BDUPS XPO TZNQIPOZ5IFHSPVQDBONBLF DSJUJDBMBDDMBJNJO3PCFSU4JFHFMT UIFBVEJFODFUIJOLJUJTCFJOH GFBUVSFGJMN#JH'BO0TXBMUXJMM BUUBDLFECZUJHFST DPOUBDUFECZ IPTUUIFTQFDJBMTDSFFOJOHPGUIJT SBEJPTJHOBMTGSPN.BSTPSTXFQU GJMNBU'PFMMJOHFS"VEJUPSJVN VQJOUIF3VTTJBO3FWPMVUJPO 5FSSZ%POBIVF KVOL QFSDVTTJPO BDDPSEJPO NVTJDBM TBX CBOKP 3PHFS.JMMFS On Borrowed Time TZOUIFTJ[FS QSFDVTTJPO BOE,FO (Friday, April 27, 1:00 p.m.) 8JOPLVS EJSFDUPS KVOLQFSDVTTJPO BOEDMBSJOFU  PAUL COX  EJSFDUPS CPSOJO )PMMBOEBOEMJWJOHJO"VTUSBMJB  JTBOBVUFVSPGJOUFSOBUJPOBM BDDMBJNBOEùJTPOFPG"VTUSBMJBT A Separation NPTUQSPMJGJDGJMNNBLFST (Friday, April 27, 8:30 p.m.) XJUIGFBUVSFT TIPSUTBOE EPDVNFOUBSJFTUPùIJTOBNFù1BVM PEYMAN MOADI BDUPS XBT IBTCFFOUIFSFDJQJFOUPG CPSOJOJO/FX:PSL$JUZUP OVNFSPVTTQFDJBMUSJCVUFTBOE *SBOJBOQBSFOUT8IFOIFXBT  SFUSPTQFDUJWFTBUùGJMNGFTUJWBMT IJTGBNJMZNPWFECBDLUP*SBO BDSPTTUIFXPSMEJODMVEJOHB )FEIPQFEUPSFUVSOUP/FX NBKPSSFUSPTQFDUJWFBUUIF-JODPMO :PSLUPTUVEZGJMN CVUSFNBJOFE $FOUSFJO/FXù:PSL$JUZ JO*SBO XIFSFIFHSBEVBUFE GSPNUIF,BSBK"[BE6OJWFSTJUZ XJUIBEFHSFFJONFUBMMVSHJDBM FOHJOFFSJOH BTIJTQBSFOUT Wild and Weird: XJTIFE The Alloy Orchestra plays *OUIFMBUFT .PBEJ 10 fascinating and CFHBOIJTDBSFFSJOGJMN LOPXO innovative films 1906-1926 JOJUJBMMZGPSIJTTDSFFOQMBZT BOE (Friday, April 27, 4:00 p.m.) MBUFSBTBOBDUPS EJSFDUPSBOE FWFODPTUVNFEFTJHOFS"O THE ALLOY ORCHESTRAJTB UISFFNBONVTJDBMFOTFNCMF  continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 27 accomplished screenwriter, The Sundance Channel and PBS. his most famous dramas are "Café Prashant started out in the arts as Setareh" (2006) and "Coma" a graffiti artist in his hometown (2004). But his true love was of Chicago. He went on to study acting, and his debut was in computer science at Cornell Asghar Farhadi’s "Darbareye University and theatrical directing Elly" (2009), which was Iran’s at The Actors Studio MFA program. submission for an Oscar in 2010. For the past fifteen years, he He re-teamed with Farhadi in has directed and designed 2011 with his highly acclaimed commercials, music videos, title performance in "A Separation" sequences and promos. ("Jodaeiye Nader az Simin"), which earned him the Best Actor JAIDEEP PUNJABI (producer) award at the Berlin Film Festival and Best Actor nomination at the VIJAY BHARGAVA (executive Asia Pacific Screen Awards. producer) Also a stage actor and director, he was seen on stage in RANJANA BHARGAVA (associate Tehran performing "Drought and producer) Lie," and is currently directing "The Snow on the Pines," (actor) currently in production. (actor)

Higher Ground Take Shelter (Saturday, April 28, 1:00 p.m.) (Saturday, April 28, 8:30 p.m.) CAROLYN S. BRIGGS (writer) holds an MFA in Creative Writing JEFF NICHOLS (director) is from the University of Arkansas. a writer and director born Her 2002 memoir "This Dark in Little Rock, Arkansas. His World: A Memoir of Salvation feature film debut, "Shotgun Found and " (BloomsburyUSA, Stories," was nominated for a 2002) has been reissued as 2008 Independent Spirit Award, "Higher Ground: A Memoir of won the Grand Jury Prize at Salvation Found and Lost" the Seattle International and (Rowman & Littlefield, 2011). She Austin Film Festivals, and won wrote the screenplay adaptation the FIPRESCI International Jury of the film "Higher Ground" Prize at the 2007 Viennale. (Sony Pictures Classics, 2011). Roger Ebert (Chicago Sun-Times) She is currently writing essays and David Edelstein (New York for Religion Dispatches and a Magazine/NPR) included "Shotgun Joy in Learning screenplay adaptation of "Of Stories" in their lists for Best Time and Memory." Briggs is an Films of 2008. Nichols second Excellence in Education associate professor of English at feature,"Take Shelter," debuted Marshalltown Community College at the 2011 Sundance Film in Iowa. Festival and is being released by Sony Pictures Classics. "Take Shelter" was awarded the Critic’s Week Grand Prix at the 2011 Cannes Film Festival and was Countryside School Patang (The Kite) nominated in five categories (Saturday, April 28, 4:00 p.m.) at the 2012 Independent Spirit K - 8th grade Awards. Nichols is currently PRASHANT BHARGAVA (director) in post-production on his 4301 W. Kirby Avenue released his first feature film, third feature, "Mud," starring "Patang" after six years in the Matthew McConaughey and Reese Champaign, IL 61822 making. His short film "Sangam" Witherspoon. He is a graduate of 217.355.1253 premiered at the Sundance Film the North Carolina School of the Festival, garnering several awards Arts, School of Filmmaking and and distinctions. The film was now lives in Austin, Texas. www.countrysideschool.org distributed by Film Movement and Mubi and broadcast on Arte/ZDF,

28 14th Annual Roger Ebert’s Film Festival MICHAEL SHANNON BDUPS  .JDIBFM#BZhT1FBSM)BSCPS +PIO "DBEFNZ"XBSE¥OPNJOFF JT 8BUFSTh$FDJM#%F.FOUFE /PBI DVSSFOUMZJOQSPEVDUJPOPOTFBTPO #VTDIFMhT5IF.JTTJOH1FSTPO  UISFFPG.BSUJO4DPSTFTFhT)#0 BOE4IBOB'FTUFhT5IF(SFBUFTU TFSJFT #PBSEXBML&NQJSF  4IBOOPOBMTPNBJOUBJOT DPTUBSSJOH4UFWF#VTDFNJBOE BTUSPOHDPOOFDUJPOUPUIF ,FMMZ.BDEPOBME JOXIJDIIF UIFBUFS*O IFTUBSSFEJO QPSUSBZT/FMTPO7BO"MEFO B $SBJH8SJHIUhTPGG#SPBEXBZQMBZ  EFEJDBUFETFOJPSBHFOUXJUIUIF .JTUBLFT8FSF.BEF4IBOOPOT 5SFBTVSZ%FQBSUNFOUXIPIBT QPSUSBZBMPG'FMJY"SUJGFY BTNBMM BTUSPOHJOUFSFTUJODPOUSPMMJOH UJNFUIFBUFSQSPEVDFS XIPHFUT CPPUMFHHJOH JOXBZPWFSIJTGBTUUBMLJOHIFBE 6QDPNJOH 4IBOOPOIBT%BWJE XIFOIFUBLFTPOBOFQJDBCPVU ,PFQQhT1SFNJVN3VTI PQQPTJUF UIF'SFODI3FWPMVUJPO FBSOFE +PTFQI(PSEPO-FWJUU TDIFEVMFE 4IBOOPOOVNFSPVTOPNJOBUJPOT GPSBO"VHVTUSFMFBTF/FYU  JODMVEJOHB-PSUFM"XBSEGPS IFXJMMCFTFFOJO;BDL4OZEFShT 0VUTUBOEJOH-FBE"DUPS B%SBNB 4VQFSNBOSFCPPU .BOPG4UFFM  %FTL"XBSEGPS0VUTUBOEJOH PQQPTJUF)FOSZ$BWJMM "NZ"EBNT "DUPS BO0VUFS$SJUJDT"XBSEGPS BOE%JBOF-BOF +VMZ  0VUTUBOEJOH4PMP1FSGPSNBODF  3FDFOUMZ 4IBOOPODPNQMFUFE BOEB%SBNB-FBHVF"XBSEGPS "SJFM7SPNFOhT5IF*DFNBO UIF %JTUJOHVJTIFE1FSGPSNBODF BTXFMM USVFTUPSZPGNPCLJMMFS3JDIBSE BTBMJTUJOHPO5JNF.BHB[JOFh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hTGFBSFEIJTXIPMF ,PMQFSUBOE5IF,JMMFS 3FE MJGF BSPMFXIJDIFBSOFEIJNB 0SDIJE5IFBUFS #VH #BSSPX *OEFQFOEFOU4QJSJU"XBSE 4USFFU5IFBUFS 3FE0SDIJE5IFBUFS #FTU"DUPSOPNJOBUJPO*OIJT BOE(BUF5IFBUFS BOE,JMMFS mSTUDPMMBCPSBUJPOXJUI/JDIPMT  +PF 4P)P1MBZIPVTF /FYU-BC 4IBOOPOTUBSSFEJO4IPUHVO 5IFBUFSBOE7BVEFWJMMF5IFBUFS  4UPSJFT .JDIBFM4IBOOPOHSFXVQJO 4IBOOPOXBTOPNJOBUFEGPS -FYJOHUPO ,FOUVDLZBOECFHBO B#FTU4VQQPSUJOH"DUPS0TDBS¥ IJTQSPGFTTJPOBMTUBHFDBSFFSJO GPSIJTSPMFBTBQTZDIPMPHJDBMMZ $IJDBHP *MMJOPJT USPVCMFEOFJHICPShTTPOJO4BN .FOEFT3FWPMVUJPOBSZ3PBE  MICHAEL BARKER EJTUSJCVUPS JT PQQPTJUF-FPOBSEP%J$BQSJP ,BUF UIF$P1SFTJEFOUBOE$P'PVOEFS 8JOTMFUBOE,BUIZ#BUFT PG4POZ1JDUVSFT$MBTTJDT 41$  4IBOOPOIBTPWFSmMN XIJDIEJTUSJCVUFT QSPEVDFT BOE &WFSXBOUFEUPPXOZPVSPXONPWJFUIFBUFS DSFEJUTJODMVEJOH-J[B+PIOTPOhT BDRVJSFTJOEFQFOEFOUmMNTGSPN 3FUVSO .BSD'PSTUFShT.BDIJOF UIF64BOEBSPVOEUIFXPSMEù*O (VO1SFBDIFS 'MPSJB4JHJTNPOEJhT  #BSLFSDPGPVOEFEUIF /PXZPVDBO 5IF3VOBXBZT 8FSOFS)FS[PHhT DPNQBOZXJUI5PN#FSOBSE BOE +PJOBUUIF"SU5IFBUFS .Z4PO .Z4PO 8IBU)BWF:F JO+BOVBSZ 4POZ1JDUVSFT %POFBOE#BE-JFVUFOBOU  $MBTTJDTDFMFCSBUFEUIFJSUI BCMPDLOPSUIPGUIF7JSHJOJB  4ZEOFZ-VNFUhT#FGPSFUIF%FWJM "OOJWFSTBSZ PSPOUIFXFCTJUF ,OPXT:PVS%FBE 0MJWFS4UPOFhT 0WFSUIFQBTUZFBST  8PSME5SBEF$FOUFS 8JMMJBN #BSLFSIBTXPSLFEXJUINBOZPG XXXUIFDVBSUDPNDPPQDGN 'SJFELJOhT#VH $VSUJT)BOTPOhT UIFXPSMEhTmOFTUJOEFQFOEFOU -VDLZ:PV .JDIBFM#BZhT#BE mMNNBLFSTJODMVEJOH1FESP $PPQFSBUJWFMZPXOFEJOEFQFOEFOUDJOFNBGPS #PZT** $VSUJT)BOTPOhT.JMF  "MNPEØWBS 3PCFSU"MUNBO 8PPEZ %BWJE.D/BMMZhT,BOHBSPP+BDL  DFOUSBM*MMJOPJTMBVODIJOHJO $BNFSPO$SPXFhT7BOJMMB4LZ  continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 29

Allen, Hector Babenco, Ingmar of America, France’s Chevalier Bergman, Frances Coppola, David Order of Arts and Letters from Cronenberg, , the French Minister of Culture, /Ismail Merchant, the GLAAD Media Award, a Jim Jarmusch, , retrospective at the George DEPARTMENT OF PHYSICS Neil LaBute, , Richard Eastman House in Rochester, Linklater, Louise Malle, David New York, the Gotham Industry Where stars are born… Mamet, , Wim Wenders Lifetime Achievement Award from and explode and die! and Zhang Yimou. the IFP, and the FINDIE Spirit The recent Sony Pictures Award. Classics slate includes Asghar Barker serves on the Board Farhadi’s Academy Award® of Directors for the American

nominated fi lm "A Separation," Museum of the Moving Image, Roman Polanski’s "Carnage," John as well as on the Entertainment Michael McDonagh’s "The Guard," Media and Technology Dean’s Jeff Nichols’ "Take Shelter," Pedro Advisory Board at NYU’s Stern

Almodovar’s School of Business, and is "The Skin I Live In" and David a member of the Visiting Cronenberg’s "A Dangerous Committee to the Division of the Method." Sony Pictures Classics Humanities at the University of also released ’s Chicago. Barker was previously Simulation of a shock wave Academy Award® nominated fi lm the co-founder of Orion Classics within a star about one second "Midnight in Paris," which has (1983-1991), which released after it begins to explode. made almost $60 million at the Akira Kurosawa’s Oscar®-winning box offi ce and is Allen’s highest fi lm "Ran." Barker was also an grossing fi lm in North America. executive at United Artists (1980- Sony Pictures Classics marked 1983) where he released fi lms by their 5th collaboration with the R.W. Fassbinder ("Lola," "Veronika physics.ncsu.edu iconic director on his upcoming Voss") and François Truffaut ("The fi lm, "Nero Fiddled." Last Metro"). He has a Bachelor Other upcoming releases of Science degree from the include the Academy Award® University of Texas. nominated fi lms Agnieska Holland’s "In Darkness" and Joseph Cedar’s "Footnote," as well as Whit Stillman’s "Damsels Citizen Kane In Distress," Nadine Labaki’s "Where Do We Go Now?," (with Roger Ebert ’s "Neil Young commentary track) Journeys," Tanya Wexler’s (Sunday, April 29, 12:00 noon) "Hysteria," ’s "Darling Companion" and Gareth DAVID BORDWELL (author, Evans’ "The Raid." At Sundance scholar) is retired from teaching 2012, Sony Pictures Classics at the University of Wisconsin- most recently acquired Malik Madison. He has written several Bendjelloul’s "Searching for Sugar books on fi lm aesthetics and Man" and Lee Toland Krieger’s history, and he is a particular "Celeste & Jesse Forever." fan of silent movies, 1940s Honors bestowed on Barker’s Hollywood, and Asian fi lmmaking. fi lms include 27 Academy A collection of his essays, "Poetics Awards® (23 of those at Sony Of Cinema," was published in Pictures Classics), including 2007. He and Kristin Thompson, 10 for Best Foreign Language who have collaborated on "Film Film and 124 Academy Award® Art: An Introduction" (10th nominations (101 at Sony edition, 2012), write about fi lm Pictures Classics), including 5 regularly at www.davidbordwell. for Best Picture ("Midnight in net/blog. Some of their online Paris," "An Education," "Howard’s essays have been collected End," "Crouching Tiger, Hidden in "Minding Movies: Observations Dragon" and "Capote") as well as about the Art, Craft, and Business 12 Opening Night Presentations of Filmmaking" (University of at the New York Film Festival. Chicago Press, 2011). He has also received the Honors Award from the Directors Guild

30 14th Annual Roger Ebert’s Film Festival 2012 Panelists & with Roger. He has contributed to Special Guests old media and new. C.O. “DOC” ERICKSON, an execu- ALI ARIKAN is the chief film tive producer, has over 50 years' critic of Dipnot TV, a Turkish experience as a producer and news portal and iPad magazine, production manager on many of and one of Roger’s FFCs. Ali is Hollywood's biggest films. He also a regular contributor to began his career at Paramount IndieWire’s Press Play blog, where Pictures, serving as production he recently co-produced a video manager on five Alfred Hitchcock essay series on , films: "Rear Window," "To Catch A and "The House Next Door," Thief," "The Trouble with Harry," Slant Magazine’s official blog. In "The Man Who Knew Too Much" addition, his writing appears on and "Vertigo." He left Paramount various film and pop-culture sites to become John Huston's associ- on the blogosphere. He tweets @ ate producer on "The Misfits, aliarikan. Freud and Reflections in a Golden Ali’s first encounter Eye." He was production man- with the awesome power of ager on Joseph L. Mankiewicz's cinema was when he saw Ray "Cleopatra." He also spent three Harryhausen’s "The Clash of the years supervising film production Titans" at the now-defunct Akün for Brut Productions and later Sineması in Kavaklıdere, Ankara, became associated with Robert Turkey. This led to an interest in Evans on "Chinatown, Players," both cinema and Greek Mythology, "Urban Cowboy" and "Popeye." eventually paving the way for Other producer/production cred- a lifelong immersion in the its include "55 Days at Peking," arts. His eclectic and somewhat "Blade Runner," "Groundhog Day," idiosyncratic cinematic interests "Fast Times at Ridgemont High," include the films of the ‘movie "Magic" and "The Lonely Guy." brats,’ Alfred Hitchcock, Jewish comedy, film noir and biographies. DANN GIRE, Daily Herald film Originally from Ankara, Ali critic, serves as president and has lived in Cologne, Durham and founding director of the Chicago . He currently resides in Film Critics Association. When he Istanbul. was a student at Eastern Illinois University in 1974, he saw The OLIVIA COLLETTE is a journalist Exorcist at the Orpheum Theater based in Montreal, Canada. She has in Champaign, and his life was contributed to RogerEbert.com, never the same. Dann has been Roger's FFCs and The Spectator named a contributing critic/corre- Arts Blog, and is set to write spondent for "Ebert Presents." a piece for an upcoming World Film Locations book. Her film SCOTT JORDAN HARRIS is essays tend to reflect an innate an English film critic and fascination with music, languages sportswriter. He is online arts and mythology. Read Olivia's editor of "The Spectator;" thoughts on all manner of pop editor of the books "World Film culture at her blog "Livvy Jams." Locations: New York" and "World Film Locations: New Orleans;" and JIM EMERSON is a writer and senior editor of "The Big Picture" film critic whose film experience magazine. He is one of Roger’s includes screenwriting, producing, Far-Flung Correspondents and has editing, exhibiting, marketing, written for the BBC, "Fangoria" publishing, journalism, criticism, and "." He is video essays and academic study. covering Ebertfest 2012 for "Sight He is the founding editor-in- & Sound," "The Spectator" and chief of and a contributor to BBC radio’s "The Film Programme." RogerEbert.com, where he has Film is philosophy a blog called "Scanners" and ODIE HENDERSON, a globetrotting oversees "The Demanders." He computer programmer by trade brought to life. also tweets @jeeemerson. In and movie lover by hobby, has the mid-1990s Jim was the contributed to Slant Magazines’s Have a great festival editor of Microsoft Cinemania, a "The House Next Door" blog since multimedia movie encyclopedia 2006. Additionally, his work has Bill Schroeder on CD-ROM and the web, which is where he first started working continued on next page All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 31 appeared at "Movies Without Pity" JEFFREY LERNER is an award- (2008) and numerous other sites. winning producer/writer He currently runs the blog "Tales of numerous highly acclaimed of OdieNary Madness" and is the special features, new media, 3D troublemaker behind the "Black and interactive content found History Mumf" series at the "Big on DVD/Blu-ray disc and digital Media Vandalism" blog. download releases of feature fi lms and TV programs from the WAEL KHAIRY is an Egyptian major studios. Highlights include national fi lm critic writing for "American Horror Story" (Season a number of local publications. 1), "Horrible Bosses," "Sex and the He has written several reviews City 2," "Glee" (Seasons 1-3), "Due and essays for two World Film Date," "The Hangover," "Cedar Locations books published in Rapids," "Harry Potter (1-5)," the UK. His revolution-related "Batman Begins," "Good Night tweets were published in the and Good Luck," "Nip/Tuck," bestseller, Tweets from Tahrir. "ER," "Citizen Kane," "Casablanca" Wael is also one of Roger’s FFCs and "The Right Stuff." Jeffrey and also writes ads for BBDO, is currently a vice president of the most awarded multinational the Producers Guild of America advertising agency in the world. and serves as chairman of the Besides his website "The Cinephile Producers Guild's AP Council. Fix" and the Chicago Sun-Times He was awarded the Video blog, Wael also writes regularly Premiere Awards' Best Audio for "The Spectator’s" Arts Blog. Commentary for the "Citizen Wael graduated from the American Kane" audio commentary he University in Cairo with a major in produced and that will be heard at Communications of Media Art and the festival. Jeffrey currently works minors in both Accounting and in with Blue Collar Productions in Los Film, which he completed at UCLA. Angeles (www.bluecollar.com). He is also a graduate of The University KEVIN B. LEE is a fi lm critic, video of Michigan and holds an MFA essayist and fi lm distributor. He from The Florida State University's contributes to "The Demanders" College of Motion Picture Arts. column on RogerEbert.com. He is editor of the IndieWire Press Play NELL MINOW reviews movies video blog, and a contributor to and DVDs each week for Beliefnet. Fandor's Keyframe blog. He is also com and radio stations across VP of Programming and Education the country as "The Movie Mom." at dGenerate Films, which Her Movie Mom blog includes specializes in distributing Chinese interviews, features, giveaways, independent fi lms. and commentary on media, culture, and values. Nell’s book, CHRISTY LEMIRE, co-host of "The Movie Mom's Guide to Family "Ebert Presents At the Movies," is Movies," includes more than the fi lm critic for The Associated 500 classic fi lms with suggested Press, based in LA. She also co- questions for family discussion. hosts the YouTube show "What Her writing about fi lm has the Flick?!" She has been writing appeared in the Chicago Sun- reviews for the AP for 12 years Times, the Chicago Tribune, USA and in 2004 was named the fi rst Today, and Parents, Parenting, full-time fi lm critic in the news and Child Magazine, and she has organization's history. been profi led in the Ladies' Home Christy fi lled in for Roger Journal, Washington Post and The several times on "At the Movies" New Yorker. in 2007 and has appeared on "The Charlie Rose Show," "Good JANA MONJI, made in San Diego, Morning America" and "The View," lost in Japan several times, has to name a few. She also covers the written about theater and movies Oscars®, Golden Globes® and many for the LA Weekly, LA Times, and other awards shows each year. currently, Examiner.com and the A third-generation LA native, Pasadena Weekly. Now living in Christy is a member of the LA LA, she has found her inner Latina Film Critics Association and the dancing Argentine tango. This Broadcast Film Critics Association. year, she celebrates her second short story publication in the Asian American Literary Review.

32 14th Annual Roger Ebert’s Film Festival OMER MOZAFFARJTBQBSUUJNF SFWJFXTBOEJOUFSWJFXTVOEFSUIF JOTUSVDUPSBUWBSJPVTDPMMFHFT BMJBT$BQPOFTJODF)FJT UISPVHIPVUUIF$IJDBHPBSFB  BMTPBGSFRVFOUHVFTUPO$IJDBHP JODMVEJOHUIF6OJWFSTJUZPG$IJDBHP 1VCMJD3BEJPhT'JMNTQPUUJOHNPWJF BOE-PZPMB6OJWFSTJUZ)FVTVBMMZ SFWJFXTIPX4UFWFSFDFJWFEB#" MFDUVSFTPO5IFPMPHZ .ZTUJDJTN  JOKPVSOBMJTNGSPN/PSUIXFTUFSO )JTUPSZBOE-JUFSBUVSF)FXPSLT 6OJWFSTJUZJO FYUFOTJWFMZJODIJMESFOhTDVSSJDVMVN EFWFMPQNFOUù)FJTPOFPG3PHFShT KRISHNA SHENOIJTBOZFBS ''$Tù)FJTBOJDFCPZ PME*OEJBOCPZXIPIBTCFFO PCTFTTFEXJUINPWJFTGPSBT MICHAL OLÉSZCZYKJTBmMN MPOHBTIFDBOSFNFNCFS)FhT DSJUJD USBOTMBUPSBOEGFTUJWBM BMPWFSPG4UFWFO4QJFMCFSH 3BZ QSPHSBNNFSCBTFEJO,SBLØX  )BSSZIBVTFO NPWJFTPVOEUSBDLT  1PMBOE)FFBSOFEIJT1I%JO TVQFSIFSPmMNT 5IF&FMT BOEIJT mMNTUVEJFTXJUIBEJTTFSUBUJPO NPUIFShTGPPEù PO1BVMJOF,BFMhTmMNDSJUJDJTN )JTQBTTJPOGPSmMNWJFXJOH )FSFHVMBSMZDPOUSJCVUFTUPNBOZ BOEmMNNBLJOHCFHBOFBSMZPO 1PMJTIPVUMFUT BOEIBTCFFO 8IFOIFXBTTFWFOPSFJHIU IF BOPDDBTJPOBMDPOUSJCVUPSUP VTFEUPNBLFIPNFNPWJFTXJUI 'BOEPSBOE4MBOU.BHB[JOF)F BOPME4POZDBNDPSEFS CVJMEJOH QVCMJTIFEUIFmSTU1PMJTICPPLPO CMPDLT DMBZNPEFMT PSXIBUFWFS UIFmMNTPG5FSFODF%BWJFT BTXFMM IFDPVMEmOE FNQMPZJOHWFSZ BTBUSBOTMBUJPOPG+)PCFSNBO SPVHITUPQNPUJPOBOJNBUJPO BOE+POBUIBO3PTFOCBVNhT UFDIOJRVFT5PEBZ IFTUJMMDSFBUFT .JEOJHIU.PWJFT)JTCMPHJT-BTU TIPSUmMNT QBJOUJOHTBOEEJHJUBM 4FBUPOUIF3JHIU BSU BMMPGXIJDIZPVDBOTFFPO IJTùXFCTJUF "SUJTUJD4DSBQZBSE ERIC PIERSONJTBmMNBOE57 )FJTFYUSFNFMZQSPVEUPCF UFBDIFSBOETDIPMBS XJUIBTUSPOH 3PHFShTZPVOHFTU''$BOEXJMMCF JOUFSFTUJOUIFXBZTUIBUmMN DPNJOHUP*MMJOPJTGSPN#BOHBMPSF BOE57TIBQFQPQVMBSDVMUVSF)F BMPOHXJUIIJTNPUIFSGPSIJT UFBDIFTJOUIF$PNNVOJDBUJPO TFDPOE&CFSUGFTU 4UVEJFT%FQBSUNFOUBUUIF 6OJWFSTJUZPG4BO%JFHP XIFSF GERARDO VALEROJT3PHFST IFBMTPTFSWFTBTEFQBSUNFOU ''$GSPN.FYJDP$JUZ XIFSFIF DIBJS&SJDIBTXSJUUFOPOB MJWFTXJUIIJTXJGF.POJDB)FT WBSJFUZPGUPQJDTUIBUSBOHFGSPN CFFOGPMMPXJOH3PHFSTJODFUIF mMNEJTUSJCVUJPOJOUIFT NJET DPMMFDUJOHIJT.PWJF UPIBUFHSPVQSFDSVJUJOHWJBUIF :FBSCPPLTTJODFBOE *OUFSOFU"NPOHUIFKPVSOBMT DPOUSJCVUJOHFOUSJFTUPIJT-JUUMF JOXIJDIIJTXPSLIBTBQQFBSFE .PWJF(MPTTBSZGPSUIFQBTU BSFù4DSFFOJOH/PJSùBOEù5IF FMFWFOZFBST +PVSOBMPG.BTT.FEJB&UIJDT 4JODF(FSBSEPIBTCFFO )JTNPTUSFDFOUXPSL 5IF XSJUJOHFTTBZTGPS3PHFS&CFSUDPN  1SPNJTFPG3PPUT XJMMBQQFBSJO BOEGPSUIFMBTUZFBSIBTCFFO 8BUDIJOH8IJMF#MBDL$FOUFSJOH XSJUJOHBEBJMZCMPHPO.FYJDPT UIF5FMFWJTJPOPG#MBDL"NFSJDB  $JOF1SFNJFSF.BHB[JOF TDIFEVMFEGPSQVCMJDBUJPOJO )JTGBWPSJUFmMNTBSF4UFWFO +BOVBSZ&SJDDBOBMTPCFTFFOJO 4QJFMCFSHT+BXT  BOE UIFEPDVNFOUBSZ ù*OmMUSBUJOH 'SBODJT$PQQPMBT5IF(PEGBUIFS* )PMMZXPPE5IF3JTFBOE'BMMPG ** UIFJSSBOLJOHEFQFOEJOHPO UIF4QPPL8IP4BU#Z5IF%PPS XIJDIPOFPGUIFNIFTTFFONPSF &SJDJTB6*HSBEVBUF SFDFOUMZ XJUIEFHSFFTJO5IFBUFSBOE $PNNVOJDBUJPOT PABLO VILLAÇA BmMNDSJUJD TJODF IBTXSJUUFOGPSNBOZ DAVID POLANDJTUIFDSFBUPS #SB[JMJBONPWJFNBHB[JOFT*O BOEQVCMJTIFSPGNPWJFDJUZOFXT  IFCFDBNFUIFmSTU-BUJO DPN IPTUPGUIFIBMGIPVSPOMJOF "NFSJDBODSJUJDUPCFQBSUPGUIF JOUFSWJFXTFSJFT%1 BOEIF 0OMJOF'JMN$SJUJDT4PDJFUZBOEJT TUJMMmOETUJNFUPTUJSJUVQEBJMZ TUJMMJUTPOMZ#SB[JMJBONFNCFS  PO5IF)PU#MPH CFJOHFMFDUFEJUTmSTUOPO&OHMJTI TQFBLJOH(PWFSOJOH$PNNJUUFF STEVE PROKOPYJTUIF$IJDBHP NFNCFSJO)FQVCMJTIFE FEJUPSGPS"JOhU*U$PPM/FXT  DPMVNOTJO&OHMJTIPOXFCTJUFT XIFSFIFIBTDPOUSJCVUFEmMN TVDIBT)PMMZXPPE&MTFXIFSFBOE

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 33 is an eventual collaborator of the wrote and directed his second acclaimed site Movie City News. short film, "Blind Death," which In 2001, he won a theater award will start being exhibited in 2012. Who cares about for adapting an old children's fairytale for the stage and in GRACE WANG is a writer, producer, April showers when 2005 he published his first book, and one of Roger Ebert’s Far "O Cinema Além das Montanhas" Flung Correspondents. She is a we have Ebertfest? ("Cinema Beyond the Mountains"), contributing author to various a biography of film director publications including The Helvécio Ratton. He’s currently Spectators Arts Blog, the books working on two books: the first "World Film Locations: New collection of his film criticism and York and World Film Locations: Spring is so special a behind-the-scenes look on the BeiJing," and has worked as a production of a major Brazilian Programming Associate and Social in C-U now! film. Media Coordinator for the Toronto He is also currently the film International Film Festival and critic of Cinema em Cena, the Toronto Reel Asian International oldest Brazilian movie website Film Festival. (which he created back in 1997). Grace is fluent in Mandarin and He also teaches Film Theory, Cantonese and muses at Etheriel Film Language and Musings and @etherielmusings. courses all over Brazil, having In her spare time she practices taught more than 1,000 students as a lawyer, daydreams on public since 2009. In 2007, he was the transport, and has a weakness for only non-US film critic to be red shoes and good people. Grace invited by the Museum of the has lived and worked in eight Moving Image and the New York countries on three continents. Times to participate in a week- She currently resides in Toronto, Ann Beddini long seminar on Film Criticism. Canada. In 2008, he directed his first and short film "Ethics" and in 2009, Barbara Hulseberg he acted by special invitation Go to www.ebertfest.com to as temporary director of the read our Official Festival Blog International Film Institute, which by Roger Ebert’s Far Flung operated from LA. In 2011, he Correspondents and others.

Crystallography— Defning the Shape of Our Modern World

An Exhibition at the visually striking, data-centric Rare Book & Manuscript Library, custom software development University of Illinois at for web, mobile, embedded & cloud Urbana-Champaign, 30 April—7 July 2012 Ontologize!

Play Stradjectives™, In commemoration of the 100th an interactive visualization anniversary of the discovery of X-ray of audience impressions. difraction, this exhibition displays Visit s4e.2wav.com twenty key texts from over 500 years with your mobile browser. in the history of crystallography. Curated by Gregory Girolami & Vera Mainz s4e.2wav.com [email protected] Te Rare Book & Manuscript Library www.library.illinois.edu/rbx 1408 W. Gregory Dr., Room 346 Urbana, IL 61801 Uncover & Discover Open M-F 8:30 am to 5:00 pm

34 14th Annual Roger Ebert’s Film Festival American Airlines and American Eagle® proudly salute Roger Ebert and the University of Illinois College of Media for hosting the 14th Annual Ebert Film Festival.

Service provided by American Eagle. AmericanAirlines and American Eagle are marks of American Airlines, Inc. oneworld is a mark of the oneworld Alliance, LLC. © 2012 American Airlines, Inc. All rights reserved.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 35 JOB #: A0452 ! s!MERICAN!IRLINES Duped from M9103-24 by: jm TITLE: SALUTE AD UPDATE – WORLD PRINT PRODUCER: NORITA JONES Path:Production 3:American Airlines:Jobs:SaluteAds:A0452_ Proof #2 PROJECT MANAGER: DOUG JACKSON Trim: 7.5"w x 9.5"h Bleed: None Live: N/A ART DIRECTOR: BERNARD PARK Page 1 of 1 Date: 3/19/12 SHIP: 3/16/2012 Inks: B/W Revised by: CPS CheckOut: ______PUBLICATION & INSERTION DATE: Rogert Ebert’s Film Festival, 4/25/2012 Agency Approvals: INITIALS DATE Supervisors: INITIALS DATE Proofreader ______Project Mgr. ______Copywriter ______Acct. Sup. ______Art Director ______Prod. Mgr. ______Creative Director ______Client Approval: INITIALS DATE Account Exec. ______

By Roger Ebert

radually during the opening scenes of "Joe Versus the Volcano," my heart began to quicken, until finally I realized a wondrous thing: I had not seen this movie before. Most movies, I have seen before. Most movies, you have seen before. Most movies are constructed out of bits and pieces of other movies, like little engines built from cinematic Erector Sets. But not "Joe Versus the Volcano." It is not an entire- ly successful movie, but it is new and fresh and not shy of taking chances. And the dialogue in it is actually worth listening to, because it is written with wit and romance. The movie announces its individuality in its opening shot, which is of a loathsome factory — a vast block of ugli- ness set down in the middle of a field of mud. Into this factory every morning trudge the broken spirits and unhealthy bodies of its employees, among them the ashen-faced Joe (Tom Hanks), "Joe Versus the Volcano" movie poster who has felt sick for years and believes that the buzzing fluo- of fancy like this factory that (Meg Ryan), whose huge type- rescent tubes above his desk may squats obscenely in the center writer seems ready to crush be driving him mad. of the screen. The entire movie her. He hates his job. Hates, The factory is a triumph of breaks that law and allows fan- hates, hates it. He barely has production design (by Bo Welch, tasy back into the movies again. the strength to crawl out to a who also designed "Beetlejuice"). Like "Metropolis," "The Wizard of doctor's appointment, where It is a reminder that most movies Oz," "Ghostbusters" or "Batman," he learns that a Brain Cloud is these days are rigidly realistic this movie isn't content to pho- spreading between the hemi- in their settings, as if a law tograph the existing world — it spheres of his brain. had been passed against flights goes to the trouble of creating He will feel terrific for four its own. or five months, and then he will In the factory, Joe hunches die. in his little corner, quailing at The death sentence is a lib- the attacks of his boorish boss eration. Joe quits his job, and (Dan Hedaya) and hardly daring is almost immediately offered a peek at the office secretary another one. A man named

Like "Metropolis,” “The Wizard of Oz,” “Ghostbusters” or “Batman,” this movie isn’t content to photograph the existing world – Stephen Goldblatt, "Joe Versus the it goes to the trouble of creating its own. Volcano" director of photography, is one of this year's Festival guests.

36 14th Annual Roger Ebert’s Film Festival WEDNESDAY 7:00pm BEHIND strongest about the movie is that “Joe Versus the Volcano” achieves a kind it does possess a philosophy, an THE SCENES idea about life. The idea is the of magnificent goofiness. Hanks and Ryan same idea contained in "Moon- JOE VERSES THE struck": that at night, in those VOLCANO are the right actors to inhabit it, because corners of our minds we deny by (1990) Rated PG day, magical things can happen you can never catch them going for a gag in the moon shadows. And if 8SJUUFOBOE%JSFDUFECZ they can't, a) they should, and that isn't there. b) we should always in any event act as if they can. $BTU Tom Hanks as Joe Graynamore (Lloyd Bridges) owns the right actors to inhabit it, Meg Ryan as Patricia/Angelica/ an island that is rich in a rare because you can never catch DeDe mineral. The island is inhabited them going for a gag that isn't Lloyd Bridges as Graynamore by natives who must be placated. there: They inhabit the logic of Abe Vigoda as Chief of the They need a human sacrifice for this bizarre world and play by its Waponis their volcano. Since Joe is go- rules. Hanks is endearing in the Robert Stack as Dr. Ellison ing to die anyway, Graynamore title role because, in the midst reasons, why shouldn't he go of these astonishing sets and Dan Hedaya as Mr. Waturi out in style by leaping into the unbridled flights of fancy, he un- Amanda Plummer as Dagmar volcano? derplays. Like a , he Sounds good to Joe. And is an island of curiosity in a sea Running time: 94 minutes meanwhile the movie has been of mystery. developing into a duet between Some of the movie's sequenc- 1SJOU$PVSUFTZWarner Bros. whimsy and romance. The writer- es are so picaresque they do director, John Patrick Shanley, themselves in: The native tribe, is the same man who wrote Nor- for example, is a joke that Shan- Abe Vigoda in a scene from "Joe Versus man Jewison's wonderful "Moon- ley is unable to pull off. What's the Volcano." struck" and the astonishingly bad "The January Man." Now he is back on the track again. The best thing about his direction is his own dialogue. The characters in this movie speak as if they would like to say things that had not been said before, in words that had never been used in quite the same way. En route to the island, Joe meets one of Graynamore's daughters and then the other. Both are played by Ryan, who has three different kinds of fun with her three characters: grungy, waspish and delectable. They set sail for the South Seas. Everything leads to the moment when they stand on the lip of the fiery volcano, wondering whether they should risk fate by jumping in. Only in this movie could jumping into a volcano be considered risking fate, rather than certain death. "Joe Versus the Volcano" achieves a kind of magnificent goofiness. Hanks and Ryan are Tom Hanks in a scene from "Joe Versus the Volcano."

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 37

38 14th 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 25-29, 2012t5IF7JSHJOJB5IFBUSF 39

By Roger Ebert

hat Second City was for "Saturday Night Live," a Chicago comedy club was for virtu- ally every black comedian who emerged in the 1990s. All Jokes Aside was a black-owned enter- prise that seemed to have in- fallible taste in talent, perhaps because it was the only club in the country that didn't relegate blacks to "special nights" or "Chocolate Sundays." Its open- ing-night act was , then unknown. It introduced or showcased talents such as Ber- Raymond C. Lambert, "Phunny Business" nie Mac, , Steve Harvey, D.L. Hughley, gigs in a small room. work in Chicago. Carlos Mencia, A.J. Jamal, Sher- This is a film not so much Turned out, it would. He yl Underwood, George Wallace, about black comedians, al- opened on Wabash Avenue in Bill Bellamy, Dave Chapelle, though we see and hear a lot the South Loop, booked the Adele Givens, and on and on, of them, but about black en- best of a new generation, in- including the personnel of the trepreneurs. Raymond C. Lam- sisted on impeccable manners, touring Kings of Comedy and bert, who co-founded the club, dress and training for his staff, Queens of Comedy. began as a stock trader for the made headliners wear suits and "Phunny ties, and Business: A drew afflu- Black Com- This is a film not so much about black ent crowds. edy" is a most He was also unexpected comedians, although we see and hear a lot providing documentary almost the about the rise of them, but about black entrepreneurs. only venue of a club that in the nation often sold out for black fe- three houses a night for 10 firm of the black Chicago mil- male comedians, the threatened years, wasn't on the radar of lionaire Chris Gardner (who subspecies of a threatened many Chicagoans and closed, himself inspired the character species, and booked black gay in a way, as the victim of its played by Will Smith in "The comics at a time when that was own success: When the young Pursuit of Happyness"). After a unheard of. He even booked comics it launched made it big, visit to Budd Friedman's Improv one white comic, Honest John, they found more money doing in Los Angeles, he wondered who backstage one night ad- concerts on big stages than why a club like that wouldn't vised Deon Cole, "try some of this real California weed instead of that Chicago &#!+," after which Cole went onstage and found himself suddenly gifted with telescopic tunnel vision.

preceded by film short The film goes in depth about business details, includ- ing the peculiarity that All Jokes Aside paid its performer their full fees, promptly, with checks that didn't bounce, no matter how many tickets had been sold — an achieve- ment few comedy clubs of any John Davies, the director of "Phunny Business." description could boast, then

40 14th Annual Roger Ebert’s Film Festival WEDNESDAY 10:00pm BEHIND THE SCENES PHUNNY BUSINESS: A BLACK COMEDY (2010) Not Rated

8SJUUFOCZJohn Davies and Raymond C. Lambert

%JSFDUFECZ John Davies

$BTU Narrated by John Ridley Featuring Doug Banks, Bill Bellamy, Cedric the Entertainer, Mike Epps, Jamie Foxx, Chris A frame from "Phunny Business." Gardner, Adele Givens, Steve Harvey, D.L. Hughley, Honest He created All Jokes Aside at a John, Raymond C. Lambert, Ali Today Lambert says he looks back with time when it was needed, and it achieved what it set out to LeRoi, Bernie Mac, Carlos Mencia, satisfaction. He created All Jokes Aside at achieve, and on its stage many J.B. Smoove, Aries Spears, Sheryl of today's most successful black Underwood, George Wallace, a time when it was needed, and it achieved actors and comedians got their George Willborn, Damon Williams start. Consider that Jamie Foxx, and Michael Winslow what it set out to achieve ... his opening night act, went on to win an Academy Award. Running time: 84 minutes And Foxx still gives back: He and now. One of Lambert's part- relaxed and natural. Former was the headliner at this year's 1SJOU$PVSUFTZReid Brody — ners was a woman named Mary Sun-Times comedy reporter Er- benefit for the Gene Siskel Film Filmmakers Lindsey, herself a trader at nie Tucker shares warm memo- Center. the CBOE, who supervised tal- ries, as do Second City's John ent with a firm hand, a ready Kapelos and Tim Kazurinsky. tongue and dress code inspec- The club on Wabash was the THE TRUTH ABOUT BEAUTY AND BLOGS tions. victim of larger paychecks paid 13 minute short film The film, directed by John by big stages (like the Chicago Davies, has access to a lot of Theatre, not far away), a rent Kelechi Ezie is an actress, archival footage, going back that doubled, and gentrifica- singer, and writer from Buffalo, to the earliest days when the tion as the South Loop under- New York. She is a graduate of "stage" was a curtain on a back went a boom. Lambert invested Princeton University, where she wall. We get bites from many $1 million in a move a mile earned a degree in History and of the comics, but no extended north to the "entertainment Theater, and won the Walter Phelps stretches; the narration and district," only to face ruin- Hall Prize in European History for editing often seem to be up- ous delays in getting a liquor her original thesis Reading What staging the comedians. I would license (despite a record of 10 Is There: Africans in Early Modern have preferred more comics and years with no incidents). White . She moved to New York fewer montages about Chicago's and Asian owners of nearby gal- shortly after to pursue an acting weather, women and food. It leries and restaurants signed career, and began working in plays is also safe to say that we see a petition protesting about a and musicals. Kelechi wrote, co- enough of Raymond Lambert change in the "ambience" of produced and starred in The Truth in the film, from the opening the area — meaning, "more About Beauty and Blogs, which is Kelechi Ezie - Writer, titles onward. He's heard not blacks." So it goes. her first screenplay. She is currently Co-Producer, Actress, "The Truth as a doc-style talking head, Still, it was a grand run, writing a series based on the film's About Beauty and Blogs" but in scripted material that and it is good to have it me- main character Vanessa, as well as sells itself a little too hard. The morialized. Today Lambert says her first feature film. comedians come across as more he looks back with satisfaction.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 41 42 14th Annual Roger Ebert’s Film Festival Richard D. Mohr & Robert W. Switzer offer for your consideration...

Kenneth Anger Matthew Barney Sadie Benning Stan Brakhage Mary Ellen Bute Maya Deren Ken Jacobs George Kuchar Mike Kuchar Gregory Markopoulos Jonas Mekas Jack Smith

Remember to buy New Zealand Wines

Use Piccadilly in Champaign

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 43

By Roger Ebert

aul is a short, chubby 35-year-old man who lives with his mother and works the night shift as a parking-garage attendant. His mother screams at him that he only dates his own right hand. But there is another Paul, "Paul of Staten Island," who is a regular caller to a sports radio station, defending his beloved New York Giants against the hated Eagles fan "Philadelphia Phil." This Paul is proud, articulate and happy. He and his best (or only) friend, Sal, never miss a Giants

home game. They're tailgaters. They park in the Giants parking lot and watch the game on a TV set that runs off his car battery. Behind them, inside the tower- ing stadium walls, star player Quantrell Bishop leads the Giants toward a championship. "Big Fan," one of the more thought-provoking sports movies I've seen, is the directorial debut of Robert Siegel, who wrote "The Wrestler." A comedy with dark un- Patton Oswalt stars as Paul in "Big Fan." dertones, it asks: What kind of a man listens to and calls sports talk I've known such people. They the great Quantrell Bishop (Jona- radio compulsively, even at 2 a.m.? identify so strongly with their than Hamm) at a gas station. They Even out of season? Even on, say, idols that it's a kind of derange- tail him. He is driven to a dicey Thanksgiving? He should get a ment. They are their city, their neighborhood in Staten Island for life, do you think? That's what his team, their heroes. When their murky purposes (a cocaine buy, mother thinks. Paul believes he team loses, they bleed. Supporters is my guess). Then he drives into has a life, a glorious life, as a Fan. of a rival team are their enemies. Manhattan, and Paul and Sal fol- Pro athletes get paid. Pro fans low him into a lap-dance empori- work pro bono. For anyone to um. They approach "QB" to praise describe himself as a team's "No. 1 him, and he's nice enough at Fan" is kind of pathetic. first. Then they recklessly tell him One night Paul (Patton Oswalt) they've been following him all the and Sal (Kevin Corrigan) are out way from the shady neighborhood. late eating pizza when they see Are they implying a shakedown?

A comedy with dark undertones, it asks: What kind of a man listens to and calls sports talk radio compulsively, even at 2 a.m.? Even out of season? Even on, say, Thanksgiving?

Robert Siegel directed "Big Fan."

44 14th Annual Roger Ebert’s Film Festival FRIDAY 1:00pm BEHIND sounds good on the radio because Patton Oswalt, best known as a stand-up he's listened to thousands of hours THE SCENES of sports radio, which largely BIG FAN comedian, brings a kind of brilliance to comes down to the same verbal (2009) Rated R formulas repeated time and again. his performance. Alone in his toll booth late at 8SJUUFOBOE%JSFDUFECZ night, he scripts words for "Paul Robert Siegel from Staten Island" and reads QB explodes and hammers Paul, Then the film follows Paul more from legal pads, striding back and $BTU who awakens three days later in a deeply into the consequences forth in his bedroom while his hospital after emergency surgery of his obsession. I've seen films mother, next door, shouts for him Patton Oswalt as Paul for bleeding in the brain. about fanatic sports fans before, in to shut up so she can get some Kevin Corrigan as Sal QB is suspended. Paul is not particular, frightening films about sleep. Marcia Jean Kurtz as Paul's mom eager to testify against him. A British football hooligans, who This isn't only, or even, a Michael Rapaport as Philadelphia detective (Matt Servitto) tries to organize into armed gangs. Paul sports movie. It's about leading a Phil question him. He says he can't is a more common American type, life vicariously. There's a movie out Matt Servitto as Velardi remember. "Can't – or won't?" the one who is especially tiresome to now called "Surrogates," about a Jonathan Hamm as Quantrell cop asks. His hunch is correct. sportswriters, who they zero in on future time when people recline at Bishop When Paul's shyster brother files a with a combination of fascination home hooked up to brain sensors, Gino Cafarelli as Jeff multimillion-dollar lawsuit against and resentment: Who are you to and lead their lives through more QB, Paul refuses to cooperate. He pass judgment on my team? attractive and younger android Running time: 88 minutes can't think of Quantrell Bishop as Patton Oswalt, best known as a versions of themselves. This prac- the man who nearly killed him. stand-up comedian, brings a kind tice is going on now. Quantrell 1SJOU$PVSUFTZFirst Independent That's because, in a sense, Paul of brilliance to his performance. Bishop is Paul's surrogate. Discon- Pictures is Quantrell Bishop. Without QB, He plays a man limited in curios- nect him, and Paul is a body on a there is no Paul there. ity, confidence and ambition. He bed, dreaming with his right hand.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 45

By Roger Ebert

thought I knew something about Rwanda, but I didn't really know very much. I was moved by "Hotel Rwanda" (2004), but not really shaken this deeply. Not like this. After seeing "Kinyarwanda," I have a different kind of feeling about the genocide that took place in Rwanda in 1994. The film ap- proaches it not as a story line but as a series of intense per- sonal moments. The characters speak both English and the nation's own language, Kinyarwanda. The film's co-writer and director, a Ishmael is a small boy who is sent out to buy cigarettes for his father when he Jamaican named Alrick Brown, overhears some soldiers talking about searching for guns and Tutsi. says he was surprised the first time he learned that all Rwan- convenient for the Belgians to The vignettes establish dans speak the same tongue. name one of these groups, the a vivid group of characters. Here was a nation in which the Tutsi, the ruling class, and the Jeanne and Patrique (Hadidja members of one tribe, the Hutu, Hutu as subservient. That led Zaninka and Marc Gwamaka), set about to massacre the mem- to a perhaps inevitable Hutu a young couple from different bers of another tribe, the Tutsi. revolt, and some 500,000 to 1 tribes, are in love. Lt. Rose (Cas- Yet were they really even mem- million members of both tribes sandra Freeman), the head of a bers of different tribes? died. military unit trained in Uganda, There is a scene in which This dreadful massacre was hopes to bring peace. Emmanuel this is discussed. Since time ignored by the world, apart from (Edouard Bamporiki), the head immemorial, people in Rwanda the ineffectual U.N. "peacekeep- of a Tutsi killing unit. Father more or less got along. When ing mission" we saw in "Hotel Pierre (Mazimpaka Kennedy), Belgium colonized the nation, Rwanda." What Brown does in a Catholic priest. The Mufti of "ethnic scientists" came in with "Kinyarwanda," working with Rwanda (Mutsari Jean), head of their calipers and found that research by his executive pro- the nation's Muslims. Perhaps the skulls and ribcages of two ducer Ishmael Ntihabose, is to most memorable, a small boy groups were somewhat different. weave together several compact named Ishmael (Hassan Kabera). Although they were already rec- interlocking stories to connect Each vignette adds to the ognized as tribal groups before events before, during and finally mosaic. Characters from one the Europeans arrived, it was after the genocide. The U.N. is turn up in another. Gradually a hardly to be seen. Rwandans powerful outcome is arrived at. commit the murders, suffer from The Mufti issues an edict declar- the murders, recover and repent. ing that the nation's Muslims Here over an unspecific period must not participate in killing of several months, we see South and must open the mosques to Africa's truth and reconciliation places of shelter for all, regard- process at work. less of tribe or religion. The

What Brown does in “Kinyarwanda” ... is to weave together several compact interlocking stories to connect events before, during and finally after the genocide.

Director Alrick Brown says he was surprised that all Rwandans speak the same tongue.

46 14th Annual Roger Ebert’s Film Festival THURSDAY 4:00pm BEHIND technique of a movie star as None of the actors in “Kinyarwanda” are a protagonist to serve as the THE SCENES audience's entry point. None of KINYARWANDA stars, and their characters all live in the the actors in "Kinyarwanda" are (2011) Not Rated stars, and their characters all same world. live in the same world. By the 8SJUUFOBOE%JSFDUFECZ equal weighting and linking of Alrick Brown their stories in rotation, Brown priest tries to operate his church a childish error or does he do prevents us from anticipating $BTU in the same way, but lacks the some agile last-minute thinking? who will prevail. The criticism of courage. Yet finally Muslims and For all its greatness, "Ho- this approach by Variety's critic Hassan Kabera as Ishmael Catholics link hands to face the tel Rwanda" nevertheless used is unfortunate. Here is a power- Edouard Bamporiki as Emmanuel bloodthirsty killers. the conventional Hollywood ful film. Cassandra Freeman as Lt. Rose I mentioned Ishmael. This Marc Gwamaka as Patrique is a beautiful little boy who is Hadidja Zaninka as Jeanne sent out to buy cigarettes for Mazimpaka Kennedy as Father his father, and overhears some Pierre soldiers searching for guns and Cleophas Kabasita as Francine "cockroaches." Cockroaches are Abdallah Uwimana as The Imam the Hutu name for Tutsi. His Kena Onyenjekwe as Sgt. Fred father is hiding some Tutsi. He helpfully tells the soldiers where Running time: 96 minutes they can find cockroaches and leads them home. How this is 1SJOU$PVSUFTZVisigoth Pictures resolved I will not say, but ask yourself this: Has Ishmael made "Kinyarwanda" approaches the Rwandan genocide as a series of personal moments.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 47

By Roger Ebert

found a rare absorption offering kindness, anger and while watching Azazel hard-won lessons learned in his Jacobs' "Terri," the story own difficult life. He and Terri of a fat kid who is mocked slowly begin to communicate at school. Movies about high person to person, and this pro- school misfits are common; this cess is subtly constructed by is an uncommon one. Terri, so Jacobs. convincingly played by Jacob Indeed, the entire film

Wysocki, is smart, gentle and moves at a human pace, not instinctively wise. His deci- prodded by impatience or a de- sion to wear pajamas to school sire to rush through the story. "because they fit" may be an To view "Terri" after the manic indication that later in life he thrashing of "Transformers: Dark will amount to a great deal. He of the Moon" was soothing and has character. healing. It demonstrates how All of that lies ahead in films can engage us in human this story, which observes him life, rather than mocking it. for two or three weeks as he There are two more impor- survives some turning points. tant characters. Chad (Bridger Terri's parents are not in the Zadina) is another of Fitzger- picture. He lives in a cluttered ald's problem children, a mo- Azazel Jacobs directed "Terri," the little house with his Uncle rose, slouching outsider driven story of a fat kid who is mocked at James (Creed Bratton), whose to pluck hairs from his head. school. Jacobs is attending this year's books and music indicate he Heather (Olivia Crocicchia) is festival. was once a much different man. a pretty young student who Now he is drifting into senility, Terri observes during a home tic, Terri captures some mice and Terri cares for him with economics class as a boy takes and lines up their bodies on quiet affection. liberties with her body. When a log in the woods. Later he The house is in a wooded this threatens to lead to her sees a bird of prey gobbling semi-rural area, which Terri expulsion, Terri steps up and one of them, and his face fills cuts through to reach the defends her to Fitzgerald, in a with wonderment. He catches school. He has been missing way that shows he respects her more mice and keeps baiting a lot of school days and is and empathizes. the log. Does this make him called in by Fitzgerald (John C. Terri and Heather begin a an unwholesome sadist? Not at Reilly), the assistant principal. friendship based on shy notes all. The movie invites no hasty This is a school administrator using mostly smiley faces. This conclusion. In honesty, I be- unlike those we usually see, leads to a strange and uneasy lieve his reaction is… normal. evening involving the two of Five characters: Terri, them, Chad, a bottle of booze, Fitzgerald, Uncle James, Chad, and some of Uncle James' pills. Heather. All original. None lim- This session, like the rest of ited by story conventions. None the film, has a timing and sym- seen by me in previous movies. pathy that sets it apart from Observed with attention and many similar scenes I've seen. sympathy. Not oversimplified, There's an element of Terri's although it would help to know life left for us to make of what more about Heather. And a kid we will. Told by his uncle to who is fat, and weird, but much set some mousetraps in the at- more than fat and weird.

Terri, so convincingly played by Jacob Wysocki, is smart, gentle and instinctively wise ... He has character.

Jacob Wysocki, a guest at this year's film festival, stars as Terri.

48 14th Annual Roger Ebert’s Film Festival THURSDAY 8:30pm BEHIND THE SCENES TERRI (2011) Rated R

8SJUUFOCZ Patrick deWitt %JSFDUFECZ Azazel Jacobs

$BTU Jacob Wysocki as Terri John C. Reilly as Asst. Principal Fitzgerald Creed Bratton as Uncle James Bridger Zadina as Chad Olivia Crocicchia as Heather Miles Tim Heidecker as Mr. Flemish Jacob Wysocki and John C. Reilly in a scene from "Terri." Justin Prentice as Dirty Jack

The actor Jacob Wysocki is conviction. A newcomer, he tween two people rarely seen in Running time: 105 minutes unknown to me, but he brings goes one on one with the mas- any movie. He's more of a John such quiet confidence to the terful John C. Reilly in scenes Candy than a Chris Farley, if 1SJOU$PVSUFTZATO Pictures role that he creates absolute of actual communication be- you get what I mean.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 49

By Roger Ebert

the years after World War II, there emerged from the Stu- dios of England a series of com- edies so dry and droll, so literate and cynical, that the phrase "Ealing comedy" described them and no others. Many starred Alec Guinness, then in his 30s, so anonymous in appearance that he was told by an early teacher, "you will never make an actor." It was like that until the end of his days; once, while dressed as Hitler for a costume fitting, he stepped outside and failed to raise the eyebrow of a passing policeman. While the other great actors of his generation – Olivier, Gielgud, Richardson – attracted crowds wherever they went, Guinness could, he reported, go A scene from "Kind Hearts and Coronets." to the cinema without ever being asked for his autograph. of Arabia" (1962), a Soviet of- of , which contin- If he was unremarkable in ficial in "Dr. Zhivago" (1965), an ued with "" person, he played a series of imperturbable Indian doctor in and "The Man in the White Suit" remarkable characters in the "A Passage to India" (1984) and (both 1951) and "" movies, each one a newly-minted Cromwell, Disraeli, Father Brown, (1955), in which a sweet little original. He was shy, stammer- Scrooge and of course Hitler. old lady buys the story that her ing Herbert Pocket in "Great Little wonder his autobiography new roomers, all crooks, are actu- Expectations" (1946) and two is titled "Blessings in Disguise." ally musicians. Their rehearsal years later the diabolical Fagin It is an injustice that he is best sessions are priceless. All of these in "Oliver Twist." He blew up remembered as Obi-Wan Kenobi Ealings were being revived with "The Bridge On the River Kwai" in the "Star Wars" movies, which new prints when I was in London (1957), was an eccentric painter he told me were boring to make in August 2002. The big screen in "The Horse's Mouth" (1958), because he spent most of his underlined the quality of the a genial colonel in "Tunes of time standing alone in front of a black and white cinematogra- Glory" (1960) and the same year back-projection screen, reciting phy, which in the case of "Kind a vacuum-cleaner salesman as dialogue. Hearts" seems to owe something "Our Man in Havana." He was Consider how unnecessary to "Citizen Kane" – another film a desert prince in "Lawrence such special effects were in "Kind that begins at the end and then Hearts and Coronets" (1949), circles back with narration. in which Guinness plays eight The opening scene of "Kind different members of the same Hearts and Coronets" shows family, of both genders and a six- as Louis Mazzini, decade age span, by doing rela- a newly-minted Duke who has tively subtle things with makeup, methodically tried to murder posture and behavior. Because he his way to the title. In the last was nobody he could be anybody, night before he is to be hanged, and here he creates characters Louis writes his memoirs, and as who are pompous, silly, incon- he reads them aloud we journey sequential, or even actually nice back through his life. His mother, to Louis. ("I was glad," says the we learn, was a daughter of the hero of the film about his em- aristocratic D'Ascoyne family, ployer Ascoyne D'Ascoyne, "after who ran away with an Italian Patton Oswalt, star of "Big Fan," will all his kindness to me, that I tenor and was disowned. After host a special screening of "Kind Hearts should not have to kill him.") the tenor died on the day of and Coronets" at Foellinger Auditorium. The film began a classic run the boy's birth, his mother's ap- Free and open to the public 50 14th Annual Roger Ebert’s Film Festival SPECIAL FREE SCREENING AT FOELLINGER AUDITORIUM, UI CAMPUS | THURSDAY 10:30pm BEHIND finding the characters largely in Price is impeccable as the murderer: Elegant, his body language and a few wigs THE SCENES or beards. It is helpful, probably, well-spoken, a student of demeanor. that the focus of most of the KIND HEARTS AND scenes is on young Louis; it is CORONETS significant, somehow, that the (1949) Not Rated peals to her family were coldly not on friendly terms." actor playing eight characters rejected, and mother and son Price is impeccable as the is not given top billing and the 8SJUUFOBOE%JSFDUFECZ were reduced to a life of genteel murderer: Elegant, well-spoken, movie is not about him. Robert Hamer poverty. But Louis' mother al- a student of demeanor. That is The methods of Louis' murders ways held out the hope that he what gets him a job in the family are in the spirit of George Orwell's $BTU might someday inherit the title bank, where an uncle takes pity famous essay "Decline of the Eng- Dennis Price as Louis Mazzini (which in the D'Ascoyne family on him. The uncle and all of the lish Murder" (1946), in which he as Edith descended through women as other D'Ascoynes are played by regretted the modern practice of D'Ascoyne well as men). After his mother Guinness (the list includes the simply shooting people and being Alex Guinness as The Duke/The dies, she is cruelly barred from Duke, the Banker, the Parson, done with it. Praising the inge- Banker/The Parson/The General/ the D'Ascoyne family crypt, Louis the General, the Admiral, Young nuity of an earlier generation of The Admiral/Young Ascoyne/ buries her in "a hideous suburban Ascoyne D'Ascoyne, Young Henry, English murders, Orwell examines Young Henry/Lady Agatha grave" and vows revenge. and Lady Agatha D'Ascoyne). those crimes "which have given He pastes the family tree onto What is intriguing is that all of the greatest pleasure to the Brit- Running time: 106 minutes the back of his mother's paint- these characters, while obviously ish public," finding that poison ing of the family home, where members of the same family, are is the preferable means, and that 1SJOU$PVSUFTZ she spent her happy early days, not obviously Guinness, unless an ideal murderer is a member and one by one he crosses off we insist on thinking of them in of the middle class who hopes to D'Ascoynes as they die. A "for- that way. One tactic that helps improve his social position or get tunate epidemic of diphtheria" his impersonations is the tenden- hold of a legacy. wood's performance is luscious, carries off one, but Louis will cy of the director, Robert Hamer, "Kind Hearts and Coronets," with her little lisp and air of have to personally murder some to shoot mostly in long and set circa 1900, admirably meets languorous petulance. The other of the others, and as he takes a medium shot, generally avoiding his criteria. One D'Ascoyne is woman, Edith (Valerie Hobson), is sixpenny tour of the family seat closeups that can be too carefully dispatched by poison, another is the widow of one of his victims, he wonders how he will get close scrutinized. blown up at tea, and a third is and well-placed with money and enough, observing sadly, "It is Guinness plays D'Ascoynes swept over a waterfall after Louis position in society. so difficult to make a neat job of who are tall, short or stooped, unties his boat. (The victim was When the amoral Louis is not killing people with whom one is young or old, male or female, spending an illicit weekend with with the one he loves, he loves his mistress at the time, and Lou- the one he's with. is observes: "I was sorry about Despite its murders and in- the girl, but found some relief trigues, its betrayals and blood in the reflection that she had feuds, "Kind Hearts and Coronets" presumably during the weekend has a dry and detached air, estab- already undergone a fate worse lished by the memoirs of Louis, than death.") My favorite murder who maintains a studied distance involves a suffragette D'Ascoyne from the evils he has commit- who is demonstrating in a hot air ted. Wounded by the slights to balloon when Louis shoots her his mother, he essentially be- down, observing "I shot an arrow lieves the D'Ascoynes are asking into the air/She fell to earth in for it. The movie is unusually Berkeley Square." dependent on voice-over narra- In the course of his rise to tion, objective and understated, the Dukedom, Louis conducts which is all the funnier by being parallel affairs, one with a woman so removed from the sensational he loves, the other with a woman events taking place. he needs. Sibella (Joan Green- Murder, Louis demonstrates, wood) is the daughter of the and Orwell would agree, can be family where he boarded after his most agreeably entertaining, so mother's death; she loves him, long as the story lingers on the but believes he has no prospects, eccentricities of the villain rather Alec Guinness plays eight different members of the same family in "Kind Hearts marries a boring man, and then than on the unpleasant details of and Coronets." begins to call on Louis. Green- the crimes.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 51 Melissa Merli covers Ebertfest like the dew. “ – Roger Ebert

Start smart with Melissa’s daily coverage” of Ebertfest in the pages of The News-Gazette.

Stay smart with continuing coverage online at news-gazette.com.

52 14th 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 25-29, 2012t5IF7JSHJOJB5IFBUSF 53

By Roger Ebert

was Nate Kohn, his close friend, who broke the news to me that Paul Cox was seriously ill

and required a liver transplant. That set in motion an exchange of emails between Paul and my- self that spanned his darkest days. All three of us got together at Cannes 2009, and I fear we were all sharing the same gloomy thoughts. Was this the final time we would ever see one another? At the last moment, when all hope seemed to be fading, Paul received a transplant in Decem- ber 2009, on Christmas Day. He is now back in the starting lineup. Ebertfest has no better friend than Paul Cox. His "A Woman's Tale" was shown here in 2000, his "Innocence" in 2002, and his "Man of Flowers" in 2007. That was the year he joined his friend onstage, and men- tioned that Werner had at one time lived in a tent in Paul's Mel- bourne back yard. It didn't sur- prise me in the least that the two were friends. Not only are they Paul Cox, the director featured in "On Borrowed Time." Cox is a guest at this year's both great filmmakers, but they film festival.

This year's festival is dedicated to both work entirely outside the limitations of commercial cinema. were fraught with concern. Paul darkest days. Now he called on They make exactly the films they was faced with a discouraging se- this spirituality and his friends want to make, exactly how they ries of challenges before he could all over the world to help him want to make them. even qualify for a transplant. through. Our email exchanges in 2009 Imagine how it must feel when I'd heard that David Bradbury life itself seems just beyond your was working on a documentary grasp. Paul is more spiritual than about Paul, and if ever there was I am (not in a religious sense, a film destined for Ebertfest it's but in a cosmic sense). He was this one. Finally seeing it, I was open to thoughts on ethereal surprised by how poetic it was. planes, and indeed some years How well it evoked Paul's gentle earlier he'd communicated with and wise spirit, his laughter, his Chaz about a dream he'd had determination to press on. How about my health. He was a great it would help someone know and support for Chaz during my own understand this heart and soul of

Ebertfest has no better friend than Paul Cox. His “A Woman's Tale” was shown here in 2000, his “Innocence” in 2002, and his “Man

Wendy Hughes is featured in the of Flowers” in 2007. documentary. She has worked with Cox.

54 14th Annual Roger Ebert’s Film Festival FRIDAY 1:00pm BEHIND ing it to bits beneath my heel." I saw my first Cox film ... at the 1983 2. At Calcutta, our seats were THE SCENES so positioned that we could see ON BORROWED TIME directly into the open door of Chicago International Film Festival, and (2011) Not Rated the projection booth, where the that's where I first met him. It took ten projectionists were playing cards. 8SJUUFOCZ The screening of Paul's film did Mike Rubbo seconds for us to become friends. not go well. The framing was off, %JSFDUFECZ the focus was bad, one reel was David Bradbury out of order, and – this is the the cinema. It is visually very where I first met him. It took strangest part – I seem to clearly $BTU beautiful, which is altogether ten seconds for us to become recall that at one point the film Narrated by appropriate for a subject whose friends. Since then we have was shown upside down. I'm not own films are so painterly and meet at many film festivals: an expert, but I believe that's Featuring Paul Cox, David often concerned with artists. Toronto, Cannes, Hawaii, Tellu- physically impossible. Yet that's Wenham, Gosia Dobrowolska, Since we will be attending the ride, Calcutta, who knows? Two what I think I saw with my own Philip Adams, , Julia North American premiere, I stories illustrate his personal- eyes. Blake, Terry Norris, Tony think that's enough for me to ity: What was Paul's response? Did Llewellyn-Jones, David Stratton, write about the film itself. 1. At Cannes, sitting next he tear the door from its hinges John Clarke, , But I'm not finished with to him at a screening, I felt and beat the projectionists over Aden Young, Wendy Hughes, Bob Paul. What psychic GPS system him trembling with anger at a the head with it. No, he did not. Jones must we share that so often cretin who was steadily texting Confronted with the most incom- brings us together? I saw my throughout the movie. "He has petent projection he had ever Running time: 87 minutes first Cox film, "Man of Flowers," no idea," Paul told me, "how close witnessed, one that transcended at the 1983 Chicago Interna- I came to snatching that cell reality and entered the realm of 1SJOU$PVSUFTZDavid Bradbury tional Film Festival, and that's phone from his hands and smash- legend, Paul was … amused. MAX MITCHELL Providing Service You Can Count On!

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 55 By Roger Ebert

he first time I saw the Al-

loy Orchestra perform with As everybody knows, “silent” films were a was at the invariably accompanied by music, although Telluride Film Festival, a place where I've been introduced to so many of the pleasures of the few of them must have enjoyed the movies. I was able to invite them resources of the Alloy. to Ebertfest in the early 2000s, and they've been back every year since, except for one year when the Champaign-Urbana Symphony

featuring the Orchestra played. As everybody knows, "silent" films were in- variably accompanied by music, although few of them must have enjoyed the resources of the Al- loy. (Sneak down to the orchestra pit, say hello to Terry Donahue, Ken Winokur and Roger Miller, and get a glimpse of some of their more unusual instruments, including a chamber pot).

Film screening sponsored by: Steak 'n Shake "Wild and Weird," the Alloy's special program this year, con- sists of short silent films hand- picked by the Alloy's members. Most of their bookings are with features, and by compiling this selection they're able to suggest Many of the short films included in the program show how early filmmakers were additional riches from the early very attached to special effects.

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

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

An unusual combination of found percussion and state-of-the-art electronics gives the Orchestra the ability to create any sound imaginable. Utilizing their famous “rack of junk” and electronic synthesizers, the group generates beautiful music in a spectacular variety of styles. They can conjure TERRY DONAHUE (junk percussion, accordion, musical saw, banjo), up a French symphony or a simple German bar KEN WINOKUR (director, junk percussion and clarinet) and ROGER band of the '20s. The group can make the audience MILLER (synthesizer, percussion). think it is being attacked by tigers, contacted by radio signals from Mars or swept up in the Russian Revolution. 56 14th Annual Roger Ebert’s Film Festival FRIDAY 4:00pm BEHIND years. Then, as now, some of the most experimental work is done THE SCENES in short subjects. This program is especially WILD AND WEIRD timely right now in the aftermath (2011) Rated PG of the success of 's "Hugo," which centered on the 8SJUUFOBOE%JSFDUFECZ rediscovery of the French film Various (including Buster pioneer Georges Méliès and his Keaton, Georges Méliès, work. Only Scorsese would have Ferdinand Zecca, Segundo de been bold enough to attempt Chomon, Winsor McCay) such a project. Although his famous "A Trip to the Moon" is $BTU on the Alloy's "Wild and Weird" Various (including Buster Stop motion, superimposition and dissolves are a few of the techniques used. DVD, it won't be included in the Keaton, Georges Méliès) program at Ebertfest, in order to free time for their eclectic selec- form "tricks" at a time when few cover the pleasures of the Al- Running time: 80 minutes tion of shorts that have possibly audiences would have been so- loy's treasures, but cannot resist never been seen before by our phisticated about the techniques pointing out that "Those Awful 1SJOU$PVSUFTZFilm Preservation audience. he was using. The first filmmak- Hats" (1909) is not only the Associates Many of them show how the ers delighted in digging into the shortest film directed by D. W. earliest filmmakers were intoxi- new medium up to their elbows: Griffith but also, I would argue, cated by the magic of special ef- Stop motion, superimposition, the most dramatic and arguably fects. Méliès himself began as a dissolves, optical shots. the first cinematic use of the magician who used film to per- I will leave it to you to dis- deus ex machina.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 57

By Roger Ebert

Separation" is a film in which every important character tries to live a good life within the boundaries of the same reli- gion. That this leads them into disharmony and brings them up before a judge is because no list of rules can account for hu- man feelings. The film involves its audience in an unusually direct way, because although we can see the logic of everyone's position, our emotions often disagree. The movie takes place in present-day Iran, a modern na- tion that attempts to live under Islamic law. The film's story has no quarrel with Islam, but it demonstrates that the inflexible Simin and Nader are a happily married couple in Tehran who are torn by tragedy. application of the letter of the law may frustrate the spirit of Farhadi); Nader's senile father man's household without his the law. This is true in all na- also lives with them. They wife present. tions under all religions and all have agreed in principle to Nader returns one day to laws. Laws are an attempt to move abroad, where they hope find his father tied to the bed regulate hypothetical situations Termeh's prospects might be and Razieh absent. She has a before they may arise. If laws better. Simin is ready to leave good reason for this, but Nader were replaced by principles, now. Nader wants to stay for his doesn't know it and neither do they might be a better fit with father's sake. we. He fires her, and she ac- human nature. "But he doesn't know you!" cuses him of pushing her down- Imagine this situation. his wife says. "No, but I know stairs and causing a miscarriage. Nader and Simin (Peyman Moadi him." Both are correct. Here Hodjat sues Nader for man-

and ), a happily we have the universal dilemma slaughter. One of the witnesses married middle-class couple in of Alzheimer's. At an impasse, will be Miss Ghahraii (Merila Tehran, have a sweet 11-year- Simin moves to her mother's Zare'i), the daughter's tutor, old daughter, Termeh (Sarina apartment, and as a necessity who is sincere but may not be sues for divorce, although the as reliable as she thinks herself. two want to remain married. That's what you must know Nader hires a caregiver for his about the plot. The case ends father. She is Razieh (Sareh up in the office of an official Bayat). She keeps the nature of interrogating judge (Babak her job a secret from her hus- Karimi), whose task is to hear band, Hodjat (), evidence and evaluate it. He who as a strict Muslim, would is a fair man, open-minded, never allow her to work in a and all the witnesses testify

Laws are an attempt to regulate hypothetical situations before they may arise. If laws were replaced by principles, they might be a better fit with human nature.

Peyman Moadi stars as Nader in "A Separation."

58 14th Annual Roger Ebert’s Film Festival FRIDAY 8:30pm BEHIND act. That this leads them into The writer-director, Asghar Farhadi, tells his a manslaughter case is by un- THE SCENES happy chance. Nor is the judge A SEPARATION eager to punish. story with a fair and even hand. His only (2011) Rated PG-13 "A Separation" provides a useful portrait of Iran today. agenda seems to be to express sympathy. 8SJUUFOBOE%JSFDUFECZ Some inflamed American politi- Asghar Farhadi cal rhetoric has portrayed it as a rogue nation eager to start $BTU as truthfully as they can. But may be tending against our own nuclear war. All too many Amer- none of them have possession sympathies, we understand why icans, I fear, picture Iranians Peyman Moadi as Nader of all the facts, and the find- he does so and may be correct as camel-riding harem-keepers. Leila Hatami as Simin ings must be in accordance with to do so. That a director can Certainly some of Iran's punish- Shahab Hosseini as Hodjat religious law. Nader and Simin make such a sympathetic film in ments for adultery that we read Sarina Farhadi as Termeh are moderate Muslims. Razieh such a troubled time is a tribute about seem medieval. But this as Razieh is so religious that she ques- to his strength of character. film portrays a more nuanced Merila Zare'i as Miss Ghahrail tions whether she can change The actors, as sometimes nation, and its decent charac- Kimia Hosseini as Somayeh the underpants of a man, even happens, create those miracles ters are trying to do the right Sahabanu Zolghadr as Azam though he is so old and sick. that can endow a film with thing. To untangle right and What drives her is the family's conviction. Moadi and Hatami, wrong in this fascinating story Running time: 123 minutes desperate poverty. as husband and wife, succeed is a moral challenge. I'd love to The writer-director, Asghar in convincing us their charac- see the film with wise judges 1SJOU$PVSUFTZSony Pictures Farhadi, tells his story with a ters are acting from genuine from American divorce courts Classics fair and even hand. His only motives; they love each other and hear their decisions. Some- agenda seems to be to express and want the best for their fam- times the law is not adequate to empathy. Although the judge ily, but are divided on how to deal with human feelings.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 59

60 14th Annual Roger Ebert’s Film Festival Your community is our community.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 61

By Roger Ebert

era Farmiga's "Higher Ground" is the life story of a woman who grows into, and out of, Christianity. It values her at every stage of that process. It never says she is mak- ing the right or wrong decision, only that what she does seems necessary at the time she does it. In a world where believers and agnostics are polarized and hold simplified ideas about each other, it takes a step back and sees faith as a series of choices that should be freely made. The woman's name is Corinne. We see her as a child, a teenager around 20 and an adult around 40. As a child, she invites Jesus into her life in a conventional mainstream Protestant sort of way. Later, she is born again, with full immersion and all the rest of it, after she and her hus- band credit God for saving them Vera Farmiga plays Corinne Walker in "Higher Ground." The movie is her directorial and their child from tragedy. Lat- debut. still, she finds her evangelical congregation enforcing uncom- Vera Farmiga and as a teenager Annika (Dagmara Dominczyk), fortable conformity upon her. by Farmiga's sister, Taissa. At all she confides in. They share I would like to say "Higher of these stages in life, the char- thoughts about sex and other Ground," which marks Farmiga's acter's face reflects awareness things. (Farmiga might have directorial debut, never steps and intelligence, along with an been wise, however, to avoid the wrong in following this process, inbred independence that makes easy laugh when each woman but it does. Sometimes it slips her a little reluctant to go along draws her husband's penis. There too easily into satire, but at with the crowd. At the discus- is a statement to be made, but least it's nuanced satire based sions held by her prayer group, there must be a more subtle way on true believers who are basi- we can see her drawing a line be- to make it.) cally nice and good people. There tween those who are thoughtful Unhappiness strikes the are no heavy-handed portraits and those who are passive con- group. I will not supply details. I of holy rollers here, just people formists. Corinne reads widely. observe, however, that a person whose view of the world is nar- She thinks about the Scriptures. who suffers great misfortune is row. There are also no outsize She has opinions. She doesn't re- unlikely to be comforted by the sinners, just some gentle singer- spond well when an older woman songwriters who are too fond of advises her that when she speaks pot and whose lyrics are parades out, it sounds too much like of cliches. preaching. God forbid a woman Corinne is played as a girl by should have an opinion. McKenzie Turner, as an adult by Yet the preachers she comes into contact with are not bad men. The film carefully avoids stereotyping them. It's just that Sometimes it slips too easily into satire, as she grows older, her congrega- tion becomes a group where the but at least it's nuanced satire based on others feel more included than true believers who are basically nice and she can. They accept. Even the men consider male dominance a good people. duty, not a pleasure. Carolyn Briggs wrote the screenplay. Corinne has a best friend, She is attending this year's festival.

62 14th Annual Roger Ebert’s Film Festival SATURDAY 1:00pm BEHIND assurance that God's will has been done. (In the case of my THE SCENES own misfortune, I prefer to think HIGHER GROUND that God's will had nothing to do (2011) Rated R with it. People who tell me it did are singularly tactless.) 8SJUUFOCZ Ask yourself during the Carolyn Briggs BOE Tim Metcalfe film where you think it takes %JSFDUFECZ place — which American state? I Vera Farmiga looked up the locations on IMDb and was surprised. Its location $BTU doesn't fit regional stereotypes. Nor do its characters. These are Vera Farmiga as Corinne decent people, trying to do the as Ethan right thing, and Corinne is a Dagmara Dominczyk as Annika "Higher Ground" is the story of a woman who grows into, and later out of, decent person who believes she as Pastor Bill Christianity. must decide on the right thing as Pastor Bud for herself. When others inform of cruelty that shows a child do things we can understand as CW her what that is, why are they her father is weak and pitiful, because we have come to know Taissa Farmiga as Teenage rarely eager to have her input? and doesn't deserve her respect. those people. Non-readers are Corinne Vera Farmiga is such a warm Perhaps that's how she began to likely to think they know what actress. I don't know if she could doubt at an early age the pater- people should do because — Running time: 109 minutes play cruel. John Hawkes, who nalism of her social group. well, they just should, that's all. plays her alcoholic father, can We see the seeds of imagina- You can read this in a book: "The 1SJOU$PVSUFTZSony Pictures play cruel — but not in a physi- tion growing through her read- unexamined life is not worth Classics cally violent way. His is the kind ing. People in books sometimes living."

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 63 By Roger Ebert

visited India only once, for can fail to look well-dressed in less than two weeks, but I a sari. left a part of my heart there. But these are all superficial I can't say I know it well, but I tourist truisms. I have learned know how it made me feel, and more in my reading, but so could it seemed impossibly exotic and you. It's in the movies where I absolutely comfortable at the find sensual and instinctive in- same time: I was curiously at sights. I like Bollywood, and the home in a strange land. classicism of Ray, but there's one At an event in my hotel, I area of Indian films I've missed, met a police chief's wife, who or remain ignorant of: The low- invited me to her home for din- budget indie scene. Sometimes, ner. Just like that. The families all over the world, such films

seemed to function in the ways are freed of the lockstep of plot of families I knew. The fact that and have a better feeling for the Prashant Bhargava directed "Patang." so many people in this far-away thing itself. land spoke English made it more A new film named "Patang" (Seema Biswas), his grandmother accessible to me. I loved the in this year's Chicago Interna- Amma (Pannaben Soni), and his way so much of the talk circled tional Film Festival opened a nephew – the son of his brother, around philosophy. I developed a new world for me. It plunges who died of a heart attack. The particular love of the exuberant head-first into a family based in nephew, Chakku (Nawazuddin music, colors, scents and tastes. Ahmedabad, where India's largest Siddiqui) resents the way this It occurred to me that no women annual kite festival is celebrat- distant man descends grandly ed. It reflects the way Indians on the small-town relatives and live in each other's pockets (to feels he has the right to make borrow the British expression). suggestions and changes. There Homes and businesses, temples are many more details, but that's and roadways, are all crowded all I choose to reveal. close together, neighbors know The story line becomes fully one another, and it's all held to- clear only towards the end. In gether by a network of the most form "Patang" looks almost like baffling and chaotic traffic in a cinema verite documentary the world. of this family, surrounded by This film is joyous, but the city and the kite festival. more than that: It's lovely in Although it was years in the its construction. The director, making, many key shots were Prashant Bhargava, born and obtained during the festival raised in Chicago, knows what itself, and we see the skies over his basic storyline is, but reveals the city filled with thousands it subtly. The story in outline of dancing, dueling kites, as would be simple enough for a every single rooftop is occupied made-for-TV movie. There is by people. Below in the streets, nothing simple about "Patang." bands, fireworks and food ven- The bare bones of the story: An dors create a tumult. There is a affluent uncle from Delhi named little romantic subplot, involv- Jayesh (Mukkund Shukla) pays a ing the daughter from Delhi and much-delayed visit back home to Bobby (Aakash Maheriya), who his family in Ahmedabad, bring- begin a flirtation on the rooftop ing along his daughter Priya and continue it during a motor- (Sugandha Garg), who hasn't bike ride. seen these relatives in years. The family house itself is a He meets his mother Sudha character, and there are a few

This film is joyous, but more than that: During the story, Hamid, a young boy, is delegated by a kitemaker to deliver a parcel of kites to a family home. It‘s lovely in its construction.

64 14th Annual Roger Ebert’s Film Festival SATURDAY 4:00pm BEHIND in context. So is the mystery of So is the mystery of the nephew‘s resentment, the nephew's resentment, which THE SCENES is explained obliquely by indirect which is explained obliquely by indirect dialogue. We are immersed in the PATANG life and sort it out for ourselves. (2011) Not Rated dialogue. We are immersed in the life The effect is curiously like be- and sort it out for ourselves. ing invited into this home and 8SJUUFOBOE%JSFDUFECZ learning while we stay. Prashant Bhargava Prashant Bhargava was born and raised on the South Side of $BTU extended shots of its graceful, a happy ending. "But Bobby," Chicago, went to grade school Nawazuddin Siddiqui as Chakku playful architecture and happy she says, "we hardly know each and the Kenwood Academy. How Seema Biswas as Sudha colors. Many interiors involve a other. Do you expect me to leave did his background produce such Sugandha Garg as Priya photograph of the dead brother, behind thousands of friends in a lovely and successful indie Aakash Maheriya as Bobby whose soul seems to inhabit it. Delhi?" film in India? From my point Pannaben Soni as Amma Meals are prepared and shared He does. Now watch care- of view, the story begins about Azur as Azur on a table in the street. The food fully. Their flirtatious conversa- 25 years ago, when his father, Mukkund Shukla as Jayesh looks delicious; fingers are often tion is filmed in close-ups and Vijay Bhargava, started taking Hamid Shaikh as Hamid used. People are teased to per- closer-ups. The effect is intimate my film class at the University form songs. Gossip and chatter and sensual. In one shot only, of Chicago's downtown extension Hameed as Hameed run wild. No attempt is made to cigarette smoke coils from her division. Vijay was smart, af- lay all this out logically; indeed, mouth. We never otherwise see fable, good company. He always Running time: 94 minutes we only gradually come to know her smoking. This establishes saved a seat for me in the back who the characters are. It's clear in a moment that she is more row. During the complete silent 1SJOU$PVSUFTZKhushi Films enough, but not underlined and worldly than the boy. She kisses features of , we pounded home. him, but that will be that: This worked our way through oatmeal We meet a young boy named is only a few-days visit. raisin cookies and peach Snap- Hamid (Hamid Shaikh), who Back at home, the frenzy of ple. He loved movies, knew a lot acting!" he told me. "He has tak- is delegated by a kitemaker to the kite-flying takes over. We about them, and when I was go- en over 25 classes at Chicago's deliver a parcel of kites to this learn that the kite strings are ing to the Calcutta Film Festival Act One Studios. He is a gardener family home on the big day. His coated with powdered glass, he set me up with his cousin, as well, and recently completed a mission ends badly. A search and the idea is to cut another who showed me all over town, master gardening course at UIC." goes up for Hamid. Meanwhile, kite out of the sky and rule the including the Victoria Memorial, As for his mother, Ranjana Bhar- on a bridge, Priya and Bobby clouds. This is never explained an architectural wedding cake gava, who catered the meals of begin a flirtation. Both are good in so many words. We have to that he regarded with a certain the cast and crew of his film: looking. Her eyes dance with observe for ourselves that the pleasure, considering Victoria "For over 35 years, Ranjana has merriness. They've been together kite-fliers protect their fingertips had once appointed herself Em- spearheaded efforts to serve the a few hours. In a lesser film, with tape. Such facts are embed- press of India. needs of women, immigrants and this would be a love story with ded in the film, to be discovered Last week I was signing my other marginalized communi- book at Barnes & Noble at Web- ties in Chicago. She has led and ster Place. Since I can't speak, managed numerous non-profit I like to shake everyone's hand organizations, including Apna before a signing. There in the Ghar, a domestic violence shelter line was Vijay! I hadn't seen serving predominantly Asian him since before my surgery in women and families. She now 2006. He introduced me to his teaches vegetarian Indian cook- son, Prashant, who had made a ing on the South Side of Chicago film that played at the Berlin in our home." and Tribeca festivals, and others. Prashant attended Cornell, They gave me a DVD. I brought it majored in computing, moved home and was delighted by it. into film titles, music videos and Prashant told me his dad live action commercials. "The spent over 25 years working in seeds for the movie 'Patang' were the administration of Michael based on the memories of my Reese Hospital. "After 20 years uncles' dueling kites," he said. of attending your class and sup- "In India kite flying transcends porting my career as a director Jaideep Punjabi produced "Patang." and designer, he has taken up continued on next page

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 65 continued from previous page boundaries. Rich or poor, Hindu or Muslim, young or old – to- gether they look towards the sky with wonder, thoughts and doubts forgotten. Kite flying is meditation in its simplest form. "In 2005, I visited Ahmed- abad to experience their annual kite festival, the largest in India. When I first witnessed the entire city on their rooftops, staring up at the sky, their kites duel- ing ferociously, dancing without inhibition, I knew I had to make this film in Ahmedabad." And so he did. "Inspired by Priya's love story is unconventional. The meeting with her beau is brief and does not end happily. the spiritual energy of the festi- val," he told me, "I returned the ers and street kids, gangsters the meaning of home and the from the pride of the people and next three years, slowly immers- and grandmothers. This process spirit of celebration were recur- place." ing myself in the ways of the old formed the foundation for my ring themes that surfaced. The And that's what happens. His city. I became acquainted with characters, story and my ap- film's joyful message and its film took three years of research, its unwritten codes of conduct, proach to shooting the film. cinematic magic developed or- was seven years in the making, its rhythms and secrets. I would "I found myself discovering ganically. My desire was for the had 9 percent non-actors, im- sit on a street corner for hours at stories within Ahmedabad's old sense of poetry and aesthetics to provised its takes based on the a stretch and just observe. Over city that intrigued me. Fractured be less of an imposed perspective script. And it flies as free and time, I connected with shopkeep- relationships, property disputes, and more of a view that emerged colorfully as a kite.

CONTEMPORARY FILM DIRECTORS

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66 14th 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 25-29, 2012t5IF7JSHJOJB5IFBUSF 67

By Roger Ebert

ere is a frightening thriller based not on special effects gimmicks

but on a dread that seems qui- etly spreading in the land: that the good days are ending, and climate changes or other sinis- ter forces will sweep away our safety. "Take Shelter" unfolds in a quiet Ohio countryside with big skies and flat horizons, and involves a happy family whose life seems contented. It is the gift of actor Michael Shannon as Curtis LaForche that while appearing to be a stable husband and father with a good job in construction, he also can evoke by his eyes and manner a deep unease. Curtis has what he needs to be happy. He fears he will lose it. His dreams be- gin to be visited by unusually Michael Shannon stars in "Take Shelter." vivid nightmares: The family dog attacks him, for example, or can. Their friendship dramatizes As his wife, is storms destroy his home. the thin ice beneath so many effective in her seventh major To the puzzlement of people these days, when em- role this year; since "The Tree his wife, Samantha (Jessica ployment is threatened by un- of Life," has any young actress Chastain), and their hearing- controlled forces, and if you lose ever put together such a series impaired daughter, Hannah a job, there may not be another of roles? (Tova Stewart), he builds a pen one. Stories about Curtis begin A few jolting shots early in the backyard for the dog, to spread in the community, and in the film establish the pos- which had been living peacefully Curtis is not paranoid when he sibility that bad things could indoors. The storm dreams are thinks people are talking about happen. But Nichols builds not so easily managed. Ominous him. His explosion at a commu- his suspense carefully. Curtis black clouds gather, their heavy nity benefit dinner is terrifying is tormented but intelligent; raindrops brown and oily, and in its energy. fearing the family's history of so subtle is the direction of Jeff This is the second collabora- mental illness, he visits his Nichols that some of this poi- tion by writer-director and star, schizophrenic mother (Kathy

Film screening sponsored by: Champaign County Anti-Stigma Alliance soned rain seems to be real, not whose powerful "Shotgun Sto- Baker) in a care facility to ask imaginary. They live on the out- ries" (2007), established Nichols if she had ever been troubled skirts of town, in an area which as a gifted new filmmaker and by bad dreams. He checks books is swept from time to time with further cemented Shannon's tornadoes. growing reputation as an actor His behavior begins to con- of uncommon force: the young cern his best friend and work- Christopher Walken, my wife mate, Dewart (), says, and he does embody helps him as much as he same shifting air of disquiet.

It is the gift of actor Michael Shannon as Curtis LaForche that while appearing to be a stable husband and father with a good job in construction, he also can evoke by his eyes and manner a

deep unease. "Take Shelter" director and writer Jeff Nichols is a guest at this year's festival.

68 14th Annual Roger Ebert’s Film Festival SATURDAY 8:30pm BEHIND ture need not be discussed here. It leads to a scene of searing THE SCENES power, in which Samantha tells Curtis that it is safe once again TAKE SHELTER to return to the surface — that (2011) Rated R it is a step he must take per- sonally. The story seems some- 8SJUUFOBOE%JSFDUFECZ what resolved. Then the film Jeff Nichols concludes not with a "surprise ending" but with a series of $BTU shots that brilliantly summarize Michael Shannon as Curtis all that has gone before. This is LaForche masterful filmmaking. Jessica Chastain as Samantha In films like "Shotgun Sto- LaForche ries," William Friedkin's "Bug," Tova Stewart as Hannah LaForche Sam Mendes' "Revolutionary Shea Whigham as Dewart Road" and Werner Herzog's "My Katy Mixon as Nat Son, My Son, What Have Ye Natasha Randall as Cammie Done," Shannon has attracted Jessica Chastain in a scene from "Take Shelter." Chastain plays the part of the best directors with his un- Ron Kennard as Russell Samantha, who is married to Michael Shannon's character. canny power. His performance in Scott Knisley as Lewis the play "Mistakes Were Made," Robert Longstreet as Jim out of the library. He turns to ey from the bank and equipment was one of the most amazing the area's obviously inadequate from work to greatly expand an performances I've ever seen. Running time: 121 minutes public health facilities. old storm shelter in his back- Thinking again over what he But he also acts as if his yard. His wife grows frightened does in "Take Shelter," I think 1SJOU$PVSUFTZSony Pictures warnings should be taken seri- by his behavior. His job and an Oscar nomination for best ac- Classics ously, He is driven to guard the health insurance are threatened. tor would be well-deserved. family he loves. He borrows mon- And then a storm comes. Its na-

A scene from "Take Shelter" starring Michael Shannon. The movie is the second collaboration between Shannon and director Jeff Nichols.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 69 70 14th Annual Roger Ebert’s Film Festival VIRGINIA THEATRE Support the Virginia’s Restoration

During their February Regular Board meeting, the Champaign Park District Board of Commissioners approved completing the BOARD OF DIRECTORS Virginia Theatre restoration as one large project, closing down W. Penn Nelson, Chair in mid May of 2012 and reopening in April of 2013 for the 15th Dan M. McCulley, Vice Chair Annual Roger Ebert's Film Festival, with any remaining work to John A. Frauenhoffer, Secretary Newton H. Dodds be completed after May of 2013. This will become the largest Craig W. Hays project yet on the theatre since the Park District took over Bobbie H. Herakovich ownership in 2000 and will finally complete the restoration of Barbara S. Hundley this grand facility. Louis D. Liay Dennis R. McMillan Total costs for the renovation are estimated to be $5 million so Scott A. Miller your help is needed now more than ever. Funds have been Arthur J. Thoma allocated, but every dollar collected in donations means one Robert F. Toalson (Honorary) less dollar of tax support needed. Help us finish the job and Gary G. Wackerlin, Treasurer bring the Virginia Theatre back to the grandeur of her glory days! For more information about the specifics of Champaign Parks Foundation is a the restoration or how you can help, contact Laura 501(c)(3) charitable nonprofit Auteberry at [email protected] or providing philanthropic support for (217) 819-3839. the Champaign Park District.

www.champaignparkdistrict.com

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 71

By Roger Ebert

assume every Ebertfest au- dience member has seen "Citizen Kane" at least once, perhaps many times. I'm including it in this year's Ebertfest for a per- sonal reason. I recorded the video commentary track for the DVD, and it has been retained in the magnificently restored new 70th anniversary edition of the film from Warner Bros., released last autumn. The track had some suc- cess, and was named commentary of the year by Variety. The last year I was able to speak was at Eb- ertfest 2006. So Ebertfest 2012 is also an anniversary of sorts, and it occurred to me to present the film with the commentary track, so that one more time my voice can be heard in this lovely theater. "I don't think any word can ex- plain a man's life,'' says one of the searchers through the warehouse of treasures left behind by . Then we get the fa- mous series of shots leading to the closeup of the word "Rosebud'' on a sled that has been tossed into a furnace, its paint curling in the flames. We remember that this was Kane's childhood sled, taken from him as he was torn from his family wrote, directed and starred in "Citizen Kane." The movie is widely and sent east to boarding school. considered one of the greatest of all time. Rosebud is the emblem of the security, hope and innocence of have explained anything.'' True, control, and made a masterpiece. childhood, which a man can spend it explains nothing, but it is "Citizen Kane'' is more than a his life seeking to regain. It is the remarkably satisfactory as a dem- great movie; it is a gathering of all green light at the end of Gatsby's onstration that nothing can be the lessons of the emerging era of pier; the leopard atop Kilimanjaro, explained. "Citizen Kane'' likes sound, just as "Birth of a Nation'' seeking nobody knows what; the playful paradoxes like that. Its assembled everything learned at bone tossed into the air in "2001.'' surface is as much fun as any mov- the summit of the silent era, and It is that yearning after transience ie ever made. Its depths surpass "2001'' pointed the way beyond that adults learn to suppress. understanding. I have analyzed it narrative. These peaks stand above "Maybe Rosebud was something a shot at a time with more than all the others. he couldn't get, or something he 30 groups, and together we have The origins of "Citizen Kane'' lost,'' says Thompson, the reporter seen, I believe, pretty much every- are well known. Orson Welles, the assigned to the puzzle of Kane's thing that is there on the screen. boy wonder of radio and stage, dying word. "Anyway, it wouldn't The more clearly I can see its was given freedom by RKO Radio physical manifestation, the more I Pictures to make any picture he am stirred by its mystery. wished. Herman Mankiewicz, an It is one of the miracles of experienced screenwriter, collabo- Rosebud is the emblem of security, hope cinema that in 1941 a first-time rated with him on a screenplay director; a cynical, hard-drinking originally called "The American.'' and innocence of childhood, which a man writer; an innovative cinematog- Its inspiration was the life of Wil- rapher, and a group of New York liam Randolph Hearst, who had can spend his life seeking to regain. stage and radio actors were given put together an empire of newspa- the keys to a studio and total pers, radio stations, magazines and

72 14th Annual Roger Ebert’s Film Festival SUNDAY 12:00noon BEHIND played Kane from age 25 until his The structure of “Citizen Kane” is circular, deathbed, using makeup and body THE SCENES language to trace the progress of adding more depth every time it passes a man increasingly captive inside CITIZEN KANE his needs. "All he really wanted (1941) Rated PG over the life. out of life was love,'' Leland says. "That's Charlie's story--how he 8SJUUFOBOE%JSFDUFECZ lost it.'' Orson Welles The structure of "Citizen Kane'' news services, and then built to with deep-focus photography-- is circular, adding more depth $BTU himself the flamboyant monument with shots where everything was every time it passes over the life. Orson Welles as Charles Foster of San Simeon, a castle furnished in focus, from the front to the The movie opens with newsreel Kane by rummaging the remains of na- back, so that composition and obituary footage that briefs us as Susan tions. Hearst was Ted Turner, Ru- movement determined where on the life and times of Charles Alexander Kane pert Murdoch and Bill Gates rolled the eye looked first. For his cast Foster Kane; this footage, with its Agnes Moorehead as Mary Kane up into an enigma. Welles assembled his New York portentous narration, is Welles' as Jedediah Arriving in Hollywood at age colleagues, including Joseph Cot- bemused nod in the direction of Leland 25, Welles brought a subtle knowl- ten as Jed Leland, the hero's best the "March of Time'' newsreels as Emily Monroe edge of sound and dialogue along friend; Dorothy Comingore as Su- then being produced by another with him; on his Mercury Theater san Alexander, the young woman media mogul, Henry Luce. They Norton Kane on the Air, he'd experimented with Kane thought he could make into provide a map of Kane's trajectory, as James W. Gettys audio styles more lithe and sug- an opera star; Everett Sloane as and it will keep us oriented as the Erskine Sanford as Herbert Carter gestive than those usually heard Mr. Bernstein, the mogul's busi- screenplay skips around in time, in the movies. As his cinematog- ness wizard; Ray Collins as Gettys, piecing together the memories of Running time: 119 minutes rapher he hired Gregg Toland, who the corrupt political boss, and those who knew him. on John Ford's "The Long Voyage Agnes Moorehead as the boy's 1SJOU$PVSUFTZWarner Bros. Home'' (1940) had experimented forbidding mother. Welles himself continued on next page

George Coulouris, Harry Shannon, Agnes Moorehead and Buddy Swan in a scene A scene from "Citizen Kane." from '"Citizen Kane." The film is known for its use of deep-focus cinematography.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 73 continued from previous page

Curious about Kane's dying word, "rosebud,'' the newsreel edi- tor assigns Thompson, a reporter, to find out what it meant. Thomp- son is played by William Alland in a thankless performance; he trig- gers every flashback, yet his face is never seen. He questions Kane's alcoholic mistress, his ailing old friend, his rich associate and the other witnesses, while the movie loops through time. As often as I've seen "Citizen Kane,'' I've never been able to firmly fix the order of the scenes in my mind. I look at a scene and tease myself with what will come next. But it remains elu- sive: By flashing back through the eyes of many witnesses, Welles and Mankiewicz created an emotional chronology set free from time. The movie is filled with bra- vura visual moments: the tow- ers of Xanadu; candidate Kane addressing a political rally; the doorway of his mistress dissolving Welles was heavily influenced by the history of journalism in the early 1900s. He based portions of his story on the rise of the penny press and Joseph Pulitzer, and also the life of . into a front-page photo in a rival newspaper; the camera swooping down through a skylight toward machines, the rise of fascism, , Susan, you'll find about "Citizen Kane'' you might easily the pathetic Susan in a nightclub; growth of celebrity journalism. A a dozen vacationists still in resi- miss. The tycoon has overextended the many Kanes reflected through newsreel subtitle reads: "1895 to dence''). himself and is losing control of parallel mirrors; the boy playing 1941. All of these years he cov- "Citizen Kane'' knows the sled his empire. After he signs the in the snow in the background as ered, many of these he was.'' is not the answer. It explains what papers of his surrender, he turns his parents determine his future; The screenplay by Mankiewicz Rosebud is, but not what Rosebud and walks into the back of the the great shot as the camera rises and Welles (which got an Oscar, means. The film's construction shot. Deep focus allows Welles to straight up from Susan's opera the only one Welles ever won) is shows how our lives, after we are play a trick of perspective. Behind debut to a stagehand holding his densely constructed and covers gone, survive only in the memo- Kane on the wall is a window that nose, and the subsequent shot of an amazing amount of ground, ries of others, and those memories seems to be of average size. But Kane, his face hidden in shadow, including a sequence showing butt up against the walls we erect as he walks toward it, we see it defiantly applauding in the silent Kane inventing the popular press; and the roles we play. There is the is further away and much higher hall. a record of his marriage, from Kane who made shadow figures than we thought. Eventually Along with the personal story early bliss to the famous montage with his fingers, and the Kane who he stands beneath its lower sill, is the history of a period. "Citizen of increasingly chilly breakfasts; hated the traction trust; the Kane shrunken and diminished. Then Kane'' covers the rise of the penny the story of his courtship of Su- who chose his mistress over his as he walks toward us, his stature press (here Joseph Pulitzer is the san Alexander and her disastrous marriage and political career, the grows again. A man always seems model), the Hearst-supported opera career, and his decline into Kane who entertained millions, the same size to himself, because Spanish-American War, the birth the remote master of Xanadu ("I the Kane who died alone. he does not stand where we stand of radio, the power of political think if you look carefully in the There is a master image in to look at him.

“Citizen Kane” knows the sled is not the answer. It explains what Rosebud is, but not what Rosebud means. The film‘s construction shows how our lives, after we are gone, survive only in the memories of others, and those memories butt up against the walls we erect and the roles we play.

74 14th Annual Roger Ebert’s Film Festival You fell in love with , now get to know the rest of our characters.

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All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 75 Thanks to those who made the Festival possible

FILM CIRCLE SPONSORS $25,000 + DIAMOND SPONSORS $10,000 + Roger & Chaz Ebert Leone Advertising Champaign County Anti-Stigma Alliance Shatterglass Studios American Airlines & American Eagle L.A. Gourmet Catering Steak ‘n Shake Fandor Betsy Hendrick

PLATINUM SPONSORS $5,000 + President-designate & Mrs. Robert A. Easter Busey Horizon Hobby DIAMOND SPONSORS $10,000 + The News-Gazette * Digital Theater Systems ** Geoffrey & Ann Poor/Balanced Audio Technology ***

* The News-Gazette has made a one-time donation of $50,000 toward the remodeling of the Virginia Theatre’s projection booth. ** DTS has made a one-time donation of $10,200 worth of digital audioequipment for the Virginia Theatre. *** Champaign Rotary Club, Geoffrey and Ann Poor/Balanced Audio Technology, Glenn Poor’s Audio-Video and Phase Technology: a one-time donation of $26,000 worth of equipment for speakers for the Virginia Theatre.

76 14th Annual Roger Ebert’s Film Festival GOLD SPONSORS SILVER SPONSORS FESTIVAL ASSOCIATES GIFTS-IN-KIND $2,500 + $1,500 + $250 + Project Te, Inc. Steve & Susan Zumdahl Chuck & Lynn Nelson Jean and Hiram Paley News Talk 1400/Lite Rock 97.5 Marsha Woodbury Lex Tate Yvette Scheven Adams Outdoor Advertising COL (IL) J.N.Pritzker, IL ARNG Fraeda & Gary Porton Ed & Nancy Tepper The Great Impasta (Retired) Joe Bennett & Aaron Hines Dianna K. Armstrong Boltini Lounge Chuck and Eileen Kuenneth Jim Johnson & Coleen Quinn John Foltz 40 North/88 West Bullock & Associates, Cheryl and Maxine & Jim Kaler Doc Erickson Thompson.McClellan Don Bullock Chipman Design Architecture J. Michael Lillich Ralph & Joe, Garcia’s Pizza Chicago Sun-Times Susan Evans & John Lamkin Troylene Ladner in a Pan Capt. Bill & Jeannie Wilson In Memory of Hiram Paley The BankVertising Company Thomas F. Flynn & Judy L. Flynn Robin & Robert Fossum Andrews McMeel Publishing Bill Schroeder Community Concierge Magazine Sam Murphy & Steve Peltz Champaign County Tent Sharon Shavitt & GIFTS-IN-KIND Sun Singer Wine & Spirits, LTD. Steven Zimmerman L.A. Gourmet Catering Carter’s Furniture Carol Livingstone & Dan Grayson Fleurish Herriott’s Coffee Company Cowboy Monkey Premier Print Group Einstein Bros Bagels Guido's Leone Advertising, Website Soma Ultra Lounge Stella Artois Jupiter's Pizzeria & Billiards eGIX web hosting Seven Saints Silver Creek & The Courier Cafe 2wav CarltonBruettDesign Tammy Schaefer & Casey Stamper Illini Media/The Daily Illini Illinois Film Offi ce Champaign Park District Cobalt Digital Inc. Virginia Theatre

'-&63*4)

SILVER SPONSORS $1,500 + Richard D. Mohr & Robert W. Switzer Mike & Michelle Wellens David Graham Brand Fortner Stan Lanning & Colleen Quigley Ann Benefi el & Joseph Kunkel Robeson Family Benefi t Fund Ann Beddini & Barb Hulseberg PATRONS Don Tingle $750 + Max & Betsy Mitchell Michele Thompson Carol Spindel & Thomas J. Bassett Bill & Wilma O’Brien Paul & Martha Diehl Ashley Rodman & Matt Gladney Tom & Regina Galer-Unti Hilary Frooman & John Lee Louis & Sandy Rice Stephen Tobias

FESTIVAL FRIENDS $500 + Dan & Marge Perrino Todd Salen Bowen Cho Gary & Connie Wikoff

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 77

78 14th Annual Roger Ebert’s Film Festival Photos courtesy of A look back at the 2011 Festival Thompson McClellan

Audience members during a showing of "Life, Above All" at the Virginia Theatre on April 30, 2011.

Roger and Chaz arrive at the Ebertfest Opening Reception hosted by President and Roger, Chaz and at last year's Festival. Mrs. Michael Hogan.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 79 Festival director Nate Kohn (left) talking on stage with Chaz Ebert (right) and Hilde Back (far right). Tilda Swinton on stage following the screening of "I Am Love" at the 2011 Festival.

David Call, one of the stars of "Tiny Furniture," Hilde Back, the subject of "A Small Act," at discusses his role following the screening. the Festival.

Guests from the movie "Louder Than a Bomb," which closed out the , director, discusses his film “” with Ali Arikan (left), 2011 Festival. Ignatiy Vishnevetsky (right) and the Festival audience after the screening.

80 14th Annual Roger Ebert’s Film Festival Turner (left) and Bill Ross (right) receive their Golden Thumb awards after the screening of Lamar Jorden performs after the screening of "Louder Than a "45365" at the 2011 Festival. Bomb" at the close of the 2011 Festival.

Chaz and panelists after the panel discussion “Ebert Presents: Reinventing the TV Show in the Digital Age."

Roger and Chaz present Norman Jewison, the director of "Only Roger and Chaz with Rachael Harris and Robbie Pickering of "Natural Selection" at the Ebertfest You," with the Golden Thumb award on stage after his movie. Opening Reception.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 81 Aroma Cafe’s Sexy Toast! Edible Art

A Classic Movie Experience 118 N. Neil Street Serving beer, wine, and mixed drinks Champaign, IL 61820 217. 356. 3200 Ebertfest Encore Schedule Before and during Ebertfest, The Art Theater will be encoring Hours: a film from this year and a few selections from prior years. Separate admission is required for The Art Theater’s shows, Mon-Thurs 7am-9pm even for Ebertfest pass holders. Fri 7-10pm Screenings at The Art Theater Sat 8-10pm Sun 8-9pm FRIDAY (4/20): The New Art Film Festival a free festival of locally made films Part of the Boneyard Arts Festival 5:00 PM - 12:00 Midnight

SATURDAY (4/21) Aroma Cafe uses only the fi nest ingredients to 1:00 - 3:30 PM – “Trees are Good” free Arbor Day matinee create quality food and coffees. 4:30 PM - The Band’s Visit (Ebertfest 2008) 7:30 PM - California 90420 (New documentary on marijuana culture) 10:00 PM - Synecdoche, New York (Ebertfest 2010)

SUNDAY (4/22) 1:00 PM - Rigoletto (Opera, from the Royal Opera House) 4:30 PM - Trouble the Water (Ebertfest 2009) 6:30 PM - (Ebertfest 1999) 8:00 PM - Metropolis (Ebertfest 2011)

MONDAY (4/23) Feminist Film Festival Hosted by the U of I’s Women’s Resources Center

TUESDAY (4/24) 7:30 PM - The Band’s Visit (Ebertfest 2008) 9:30 PM - Battleship Potemkin (Ebertfest 1999)

WEDNESDAY (4/25) 1:00 PM - Play Time (Ebertfest 2005) Congratulations 4:00 PM - Rigoletto (Opera, from the Royal Opera House) Roger and Chaz 7:30 PM - Metropolis (Ebertfest 2011) on your Thursday (4/26) 14TH FESTIVAL 7:30 PM - I Am Love (Ebertfest 2011) 10:00 PM - Big Fan (Ebertfest 2012)

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82 14th Annual Roger Ebert’s Film Festival to those who made the 2012 Festival possible

FESTIVAL GUESTS %BWJE1PMBOE 1SPHSBN4VQFSWJTPS PRINT COURTESY 3PCFSU4JFHFM Kristi Bruce Amatucci Joe Versus the Volcano "MMPZ0SDIFTUSB +FGG4IBOOPO (SBQIJD%FTJHO 1SJOU$PVSUFTZWarner Bros "MJ"SJLBO .JDIBFM4IBOOPO &EPVBSE#BNQPSJLJ Carlton Bruett ,SJTIOB4IFOPJ The Truth About Beauty .JDIBFM#BSLFS /BXB[VEEJO4JEEJRVJ $IBJS "DBEFNJD1BOFMT and Blogs 1SBTIBOU#IBSHBWB (FSBSEP7BMFSP Dr. Norman Denzin 1SJOU$PVSUFTZDuArt Film and 3BOKBOB#IBSHBWB 1BCMP7JMMBDB Video 7JKBZ#IBSHBWB (SBDF8BOH 'FTUJWBM1SPHSBN Phunny Business: A Black 4FFNB#JTXBT +BDPC8ZTPDLJ Jill Disis, The Daily Illini Comedy 4UFWFO#PPOF )BEJEKB;BOJOLB %BWJE#PSEXFMM 1SJOU$PVSUFTZReid Brody – Filmworkers $BSPMZO#SJHHT 3FJE#SPEZ Big Fan "MSJDL#SPXO FESTIVAL STAFF VOLUNTEERS 1SJOU$PVSUFTZFirst Independent 0MJWJB$PMMFUUF Pictures 'FTUJWBM1SPHSBNNFSBOE)PTU 3PHFS&CFSUT'JMN'FTUJWBM 1BVM$PY ROGER EBERT UIBOLTBMMPGJUTMPZBMBOE +PIO%BWJFT Kinyarwanda IBSEXPSLJOHWPMVOUFFST .JDIFMM%BWJT 'FTUJWBM%JSFDUPS 1SJOU$PVSUFTZVisigoth Pictures %BSSFO%FBO Nate Kohn 8JUIPVUZPV UIF'FTUJWBM Terri +JN&NFSTPO XPVMEOPUCFQPTTJCMF8F 'FTUJWBM1SPEVDFSBOE$P)PTU 1SJOU$PVSUFTZATO Pictures %PD&SJDLTPO Chaz Ebert BSFEFFQMZHSBUFGVMGPSZPVS ,FMFDIJ&[JF EFEJDBUJPO UJNFBOE On Borrowed Time $BTTBOESB'SFFNBO "TTPDJBUF'FTUJWBM%JSFDUPS DPNNJUNFOUoOPUPOMZEVSJOH 1SJOU$PVSUFTZDavid Bradbury Mary Susan Britt 4UFQIFO(PMECMBUU UIFGFTUJWBM CVUBMMZFBSSPVOE %FBUSB)BSSJT Wild and Weird $POTQJSBUPSJO$IJFG 1SJOU$PVSUFTZ 4DPUU+PSEBO)BSSJT Film Preservation Lady Joan Cohl Associates 0EJF)FOEFSTPO %JSFDUPS 5IF7JSHJOJB5IFBUSF "[B[FM+BDPCT A Separation Steven Bentz 8BFM,IBJSZ A VERY SPECIAL 1SJOU$PVSUFTZSony Pictures 3BZNPOE-BNCFSU THANKS TO Classics 'SPOU)PVTF$PPSEJOBUPS  ,FWJO#-FF 5IF7JSHJOJB5IFBUSF -FBEJOH4QPOTPST Higher Ground $ISJTUZ-FNJSF Kim Lareau Champaign County Anti-Stigma 1SJOU$PVSUFTZSony Pictures +FGGSFZ-FSOFS Alliance Classics "MJ-F3PJ 5FDIOJDBM%JSFDUPS  Steak 'n Shake 5IF7JSHJOJB5IFBUSF /FMM.JOPX Patang Mike Frederick 0GGJDJBM"JSMJOFT 1FZNBO.PBEJ 1SJOU$PVSUFTZKhushi Films Mary Frances Fagan +BOB.POKJ 1SPKFDUJPOJTUT "NFSJDBO"JSMJOFT"NFSJDBO&BHMF 0NFS.P[BGGBS James Bond Take Shelter 1SJOU$PVSUFTZSony Pictures +FGG/JDIPMT Steve Krauss 0GGJDJBMUSBWFMBHFOU Classics *TINBFM/UJIBCPTF Travis Bird Lori Tate Simon .JDIBM0MFT[D[ZL Lisa Hettinger 8FCTJUF Citizen Kane 5PNNZ0MJWFS --5SBWFM Leone Advertising 1SJOU$PVSUFTZWarner Bros 1BUUPO0TXBMU &SJD1JFSTPO $PPSEJOBUPST 4UFWF1SPLPQZ Sophie Kohn +BJEFFQ1VOKBCJ Sonia Evans Keith Pegues

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 83 Carmon’s Bistro 415 N. Neil St. 217.378.2299 Open for lunch, brunch, dinner. Rustic French food with organic wines & hand-crafted cocktails. 1/2 price wines by the glass on Tuesday 1/2 price specialty cocktails on Sunday

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HAWTHORN SUITES PRESENTS “Fly Me To The Moon” An elegant evening of dinner & dance

Friday, May 4th 2012 Reception: 6:00-7:00pm Hors d’oeuvres & Cocktails Dinner: 7:00pm Salad Petite Steak Red Skinned Mashed Potatoes Belgium Carrots Chef’s Choice Dessert

Entertainment & Dancing: 8-11:00pm Live Music ~ Geo ff & Dave

By Reservations ONLY Celebrating over 100 years $25.00 per person $45.00 per couple Cash Bar of college media at the University of Illinois RSVP to Christina Phone: 217-531-9098 101 Trade Centre Drive E-mail: Champaign, IL 61820 [email protected] Corner of Neil & Kirby illinimedia.org

86 14th Annual Roger Ebert’s Film Festival By Rosie Powers, Daily Illini Staff Writer

hough every Ebertfest is dedicated to a special Everything you do with your heart and soul member of the film community, not all can claim to is a self-portrait of sorts. If you are a painter have travelled over 15,000 miles to get to the annual festival. and paint portraits of people, each one of This year’s Ebertfest has been dedicated to Paul Cox, an those should be a self-portrait. Australian filmmaker. One of the films featured in the festival, - Paul Cox - “On Borrowed Time,” directed by Australian director David Bradbury, is a summary of Cox’s Yee said. though not Cox’s film, might be professional and personal life. Though Cox has made several the most personal of them all. Cox, who is Dutch, moved to films throughout his career, he The film also focuses on Cox’s Australia in his 20s. He is now claims that many of his films diagnosis with cancer, and how Paul Cox is an Australian filmmaker. based in Melbourne, Australia, are self-inspired in one way or the illness has shaped his way of This year's festival is dedicated to him. and has made 22 films over the another. thinking both in his personal and past 40 years. The film serves “Everything you do with your professional lives. as an ongoing narrative about heart and soul is a self-portrait Though a horrific realization Cox’s journey through his career of sorts,” Cox said. “If you are to have, the film portrays Cox’s in these years, and looks at a painter and paint portraits acceptance of death from the filmmaking as an art form. of people, each one of those viewpoint of human mortality. Though the film was not made should be a self-portrait. You Essentially, Cox comes to the by Cox himself, this is not his can’t express your sincerity and realization of living in the first time attending Ebertfest. personal voice when you accept moment, for the fact that a In fact, Karyn Yee, production the fact that you’re constantly disease or misfortune could befall coordinator for Illumination forced to bend to commercial anyone at any time. Films, said Cox has been to the demands.” “We all live on borrowed festival a few times for screenings Yee said each of Cox’s films time," Cox said. “We’re transient of his own films. represents a different period in beings.” “Cox met Roger Ebert many his life. years ago, and throughout the “Each film represents stages in “On Borrowed Time” is years they have reunited at Paul’s life, as his films are a means scheduled to appear during the various festivals. He considers of self-expression,” Yee said. festival on Friday, April 27 at David Bradbury directed "On Borrowed Ebert a much-respected friend,” Yet “On Borrowed Time,” 1:00 p.m. at the Virginia Theatre. Time."

"On Borrowed Time" is a documentary that chronicles Paul Cox's life. Cox comes to the realization that one must live in the moment, since a disease or misfortune could befall anyone at any given time.

All Q&A sessions and panel discussions will be streamed live at www.ebertfest.com and on the Ebertfest Facebook Fan Page April 25-29, 2012t5IF7JSHJOJB5IFBUSF 87

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88 14th Annual Roger Ebert’s Film Festival

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