Ray Pride

As North America's oldest competitive film festival, Chicago's annual event should be a highlight of the moviegoing year, but recent editions have shown a lack of focus in programming and a sometimes uninspired selection. While it's easy to lay such claims at the feet of career-long Festival Founder and Artistic Director Michael Kutza, the truth is that the politics and economics of film distribution often prevent movies that might have stirred audiences in Toronto or Vancouver, Berlin or San Francisco, from being seen at every festival that might want them. It costs real money to make movies and to distribute them, and there are behind-the-scenes discussions and decisions that we're probably all better off not knowing about.

But this year may be one of the more rewarding CIFFs in several years; there is a "good mix of International Cinema and total discoveries," Kutza says. "U.S. premieres are strong, and we will have the directors available. This year, we have a stronger, larger mix of Asian films, Spanish films, African-American films and gay/lesbian films including a tribute to Japanese Director Sabu." Kutza remains convinced that the range of prizes offered at Chicago make it important on the festival landscape. "We looked for films that are not only high quality films," he says, "but ones that will challenge the jury. I'm a strong believer in competition. Being judged by your peers and winning an award can help with future films [getting] made and [getting] distribution, including documentaries, shorts, student features, in a tough market. I think its outstanding that one's peers can help in the selection process."

And, while he believes the festival has always been focused, he concedes that, this year the festival has fine-tuned its selections. "Four of the strongest films are from Mexico, including 'Amores Perros,' the best film of the festival, in my opinion." It is an exceptional, contemporary piece of work, but, as Kutza points out, "After the film screened at Cannes, I tried to get Miramax and Sony Pictures Classics to buy the film, but they refused to because in the first five minutes a dog gets killed, which could upset a lot of people. I think it's brave that Lions Gate is picking up the film for distribution, and I'm pleased that we have the film in our schedule."

And, Kutza notes, with more venues -- from the North Side (Music Box), to Michigan Avenue (600 North Michigan), to the South Side (DOC) -- "all of Chicago can experience the Festival more easily."

Here are a few of my picks: "George Washington," a remarkable all-American movie. Bela Tarr's "Werckmeister Harmonies" is another of his exquisitely photographed, languid parables. "Gimme Shelter," the classic 1970 Maysles-Zwerin documentary about the Rolling Stones at Altamont, recently restored by Home Vision and the Criterion Collection for its presentation on video and DVD, and shown in a new 35mm print. Agnes Varda's touching digital video documentary, "The Gleaners and I." Marzieyh Meshkiny's "The Day I Became a Woman," a striking look at feminism in contemporary Iran.

Alejandro Gonzalez Inarritu's "Amores Perros," which justifies Kutza's claims for it. The deeply, satisfyingly disturbing psychological turns in Dominik Moll's "Harry, He's Here To Help." Baltasar Kormakur's deadpan comedy, "101 Reykjavik." Along with "Come Undone," Edward Yang's three-hours-and-worth-it "Yi Yi," James Gray's "The Yards", Lee-Chang-Dong's "Peppermint Candy" and Marc Singer's multiple-Sundance award winner, "Dark Days." And in the Critic's Choice series, there's the wonder that is John Cassavetes' original cut of "The Killing of A Chinese Bookie" and my choice, Bill Bennett's seldom-seen intense, improvised thriller of shifting loyalties, "Backlash." (2000-10-05)

Also by Ray Pride

RAGING HORMONES
Karyn Kusama's "Girlfight" has made the festival circuit, from Sundance to Cannes to Toronto, garnering awards (two at Sundance, for best dramatic feature and direction), and it has sparked several fundamental forms of discussion, but it possesses an emotional ferocity, a narrative polish and an attentiveness to gesture and an actor's charisma that is rare and thrilling. You have not seen this film before.
(2000-09-28)

THE WHITE ALBUM
Writer-director Cameron Crowe has at least one infernal phrase to his credit: "Show me the money!," anyone?
(2000-09-14)

IN THE COMPANY OF RENEE
If "Nurse Betty" were directed by an unknown, its dark comedy and sunny-dispositioned star would probably make it a critics' favorite.
(2000-09-07)

VOICES CARRY
Let's say the first glory of Irish literature is the fact that a recognized artist doesn't pay any income tax. The second glory is the prose that flows free into the rest of the world.
(2000-08-24)

BENT
(2000-08-17)

KISSER OF MEN
(2000-08-17)

WINONA WEPT
(2000-08-17)

MULTIPLE PERSONALITY DISARRAY
(2000-08-03)

AMERICAN CUTIE
(2000-07-20)

EYEBALL KICKS
(2000-07-06)

HOLLYWOOD'S LONELY MAN
(2000-07-06)

RIDERS ON THE STORM
(2000-06-29)

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