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Monthly Archives: May 2018

RENDEZVOUS IN CHICAGO Director’s Statement

I’m pleased to announce that, after eight long and intense days of shooting, my latest feature Rendezvous in Chicago has wrapped production! I could have never crossed the finish line so quickly and efficiently without the heroic efforts of my phenomenal cast and crew. Below is a photo of me with our special guest star Haydee Politoff from the first day of shooting as well as a “Director’s Statement” I’ve drafted for film-festival submission purposes. I strongly suspect the film will have a Fall World Premiere. Stay tuned for more info!
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“As a filmmaker I have long been fascinated by the cinematic representation of relationships and communication. RENDEZVOUS IN CHICAGO constitutes the third part in a trilogy of films tackling these subjects (following my previous features COOL APOCALYPSE and MERCURY IN RETROGRADE) although, rather than telling a single narrative, this film is also a trilogy in and of itself; it is comprised of three vignettes that correspond to the beginning (THE BROTHERS KARAMAZOV), middle (CATS AND DOGS) and end (THE END IS THE BEGINNING) stages of a relationship. The cast is the finest I’ve ever had the pleasure to work with, featuring many well-known Chicago actors (Rashaad Hall, Clare Cooney, Nina Ganet, Matt Sherbach, Shane Simmons, etc.) as well as French import Haydee Politoff (whose cameo is an homage to her mentor Eric Rohmer); but what really sets RENDEZVOUS apart from my previous work is its more overtly comedic tone and the way that it abandons naturalism in favor of a dreamlike but gentle surrealism. I hope you walk away from it with a smile on your face and a song in your heart.” – Michael Glover Smith, 5/26/18

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The Last Ten Movies I Saw

1. Fantomas (Chabrol/Bunuel)
2. Good Time (Safdie/Safdie)
3. Beau Travail (Denis)
4. Audrey the Trainwreck (Ross)
5. Good Time (Safdie/Safdie)
6. The Wailing (Na)
7. Chungking Express (Wong)
8. To Sleep with Anger (Burnett)
9. Housesitters (Coffman)
10. La Collectionneuse (Rohmer)


More on THE ART OF SITTING QUIETLY AND DOING NOTHING

I reviewed Nick Alonzo’s The Art of Sitting Quietly and Doing Nothing for Cine-File Chicago (this is a different review than the one I recently wrote for Time Out Chicago). It has its World Premiere at the Nightingale Cinema tonight at 7:30pm. I will be moderating the post-screening Q&A with members of the cast and crew. Hope to see some of you there!

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Nick Alonzo’s THE ART OF SITTING QUIETLY AND DOING NOTHING (New American)

The Nightingale (1084 N. Milwaukee Ave.) – Friday, 7:30pm

“Sitting quietly, doing nothing, Spring comes, and the grass grows, by itself.” So goes a 17th-century haiku by Basho that inspired the title of Nick Alonzo’s new comedy. This koan-like poem, which reminds readers of the importance of letting things happen (as opposed to making them happen), is fitting for our modern world where the notion of busy urban professionals consciously “unplugging” in order to undergo a “digital detox” has become a common occurrence. This also happens to be the story of Carl (Alex Serrato), the film’s poker-faced anti-hero who embarks on a solitary, Henry David Thoreau-style retreat into nature after a breakup with his longtime girlfriend Gloria (Alycya Magana). In contrast to Alonzo’s debut feature, SHITCAGO, which featured a deadpan protagonist encountering a strange menagerie of characters in the city, most of THE ART OF SITTING QUIETLY AND DOING NOTHING is devoted to scenes of Carl alone in the woods in the suburbs—masturbating, exercising, writing in his diary, attempting to fish, etc.—scenarios out of which Alonzo gets a surprising amount of comic mileage. The incongruity of this city dweller alone in verdant nature is highlighted by the fact that he perpetually sports a t-shirt emblazoned with Pink Floyd’s Dark Side of the Moon album cover—the ultimate symbol of mass reproduction and popular culture—but Alonzo also posits Carl’s strange odyssey as a genuine, and genuinely poignant, desire for spiritual rebirth. At its best, the minimalist, black-and-white-shot SHITCAGO brought to mind early Jim Jarmusch and Chantal Akerman. THE ART OF SITTING QUIETLY AND DOING NOTHING, a clear advance on its predecessor, might best be described as “stoner Apichatpong.” Alonzo and select cast and crew in person. (2018, 80 min, Digital Projection) MGS


Clare Cooney’s RUNNER at the Chicago Critics Film Festival

The following review of Clare Cooney’s Runner, which receives its Chicago Premiere at the Music Box this Sunday, was published at Time Out Chicago today. 

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The Chicago Critics Film Festival returns to the Music Box Theater this Friday, May 4 and runs through Thursday, May 10, bringing a typically impressive and diverse slate of acclaimed new independent and foreign films, many of which are fresh off of their World Premieres at Sundance and South By Southwest and all of which are making their local premieres. A welcome new twist to this year’s edition is the inclusion of two short film programs, which are comprised of works by universally acknowledged masters of the form like animator Don Herzfeldt (World of Tomorrow Episode 2: The Burden of Other People’s Thoughts) as well as first-time filmmakers like Chicago’s own Clare Cooney (Runner). The latter film, screening as part of the “CCFF Shorts Program #1” block, is an extremely auspicious directorial debut for Cooney, who is better known for her work as an actress. Although it clocks in at only 12 minutes, it is one of the must-see events of the festival, especially considering that the whip-smart Cooney will be present for a post-screening Q&A.

Runner tells the story of a young woman named Becca (Cooney) who witnesses a violent altercation between a couple while jogging through an alley near her Chicago apartment. Becca’s subsequent knowledge of what happened, and an unexpected re-encounter with one of the participants, causes her to face an ethical dilemma. As a director, Cooney knows how to get the most out of herself as an actress (she’s a performer of uncommon depth) but she also wisely eschews the melodramatic approach that even more seasoned filmmakers might have taken – cutting the sound entirely from the film’s most intense moment and thereby increasing its effectiveness via counterpoint. But what impresses most in this pungent drama is the way Cooney is able to seamlessly enfold her ideas into a naturalistic narrative framework. In the “Me Too” era, the powerful tracking shots of Becca literally running away from physical danger conjure the notion of a desire to transcend an entire culture of harassment and assault. It’s a haunting movie – and one that chimes with our times.

For more information about the screening of Runner, visit the Music Box’s website.


Nick Alonzo’s THE ART OF SITTING QUIETLY AND DOING NOTHING

The following review of Nick Alonzo’s The Art of Sitting Quietly and Doing Nothing, which receives its World Premiere at the Nightingale Cinema this Friday, appeared at Time Out yesterday. I will be moderating the post-screening Q&A with Nick after the screening.

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I’ll never forget the moment I realized that Nick Alonzo was a special filmmaker. Five minutes into his first feature, the no-budget, minimalist comedy Shitcago, the movie’s unnamed protagonist takes out his trash, pausing long enough to examine a strange stain on the side of a garbage can outside of his apartment before shrugging and heading back inside. This non sequitur is typical of Alonzo’s art: a wordless, deadpan, even mundane sequence that somehow also becomes inexplicably funny. For the few who saw it, Shitcago seemed to announce the arrival of an original and quirky self-taught filmmaking talent whose style felt not just confident but, curiously (considering he was still a college student in his early 20s at the time), fully realized. Alonzo’s second feature, The Art of Sitting Quietly and Doing Nothing, which has its World Premiere at the Nightingale Theater on Friday, May 5, is a more ambitious film, narratively and aesthetically, that confirms Alonzo’s status as a director to keep an eye on.

The Art of Sitting Quietly and Doing Nothing begins with the unforgettable image of a man masturbating beneath a blanket in the woods. He stops long enough to swat a mosquito on his face then, while writing in his diary shortly afterwards, expresses a fear of having contracted the zika virus. This impulsive young man, Carl (newcomer Alex Serrato), is a Chicagoan who has chosen to live in the woods indefinitely after having been dumped by his girlfriend, Gloria (actress/filmmaker Alycya Maganas), a tragedy revealed through flashbacks. The bulk of the narrative consists of Carl, armed only with a backpack containing a few meager supplies (matches, magic mushrooms, a book titled How to Survive in the Woods), attempting to commune with a “natural” world he is hilariously ill-equipped to deal with. Bolstered by beautiful cinematography of forest preserves in the near-suburbs (the vibrant greenery of which provides a dramatic contrast to Shitcago’s black-and-white cityscapes), an evocative score by Daniel Fromberg, a delightful animated sequence by Dominique Bloink and a surreal scene involving a person in a gorilla suit, this is microbudget cinema at its most idiosyncratic, personal and rewarding.

For more information about the World Premiere of The Art of Sitting Quietly and Doing Nothing visit the Nightingale’s website


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