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Category Archives: Chicago Movies

RENDEZVOUS IN CHICAGO Trailer

With less than a month until the World Premiere of my new film RENDEZVOUS IN CHICAGO at the Adirondack Film Festival, I’ve posted our trailer to YouTube (it was previously available only as an exclusive at Daily Grindhouse). Check it out!

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Casey Puccini’s I DON’T CARE

The following review of Casey Puccini’s I Don’t Care appeared at Time Out Chicago today. 

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I Don’t Care, the sophomore feature of Chicago filmmaker Casey Puccini (Children Without Parents), will receive its local premiere at Chicago Filmmakers this Saturday, August 25. It’s a sharply made, acerbic comedy chronicling a pretentious filmmaker (played by Puccini himself in a performance that impresses for its stubborn refusal to elicit viewer sympathy) whose most recent micro-budget opus spirals out of control due to a combination of his own incompetence and unexamined hubris. Puccini has described the movie as not strictly autobiographical although, given that he’s also calling it a “cautionary tale,” it seems likely that both the central character and basic scenario arose from imagining his life having gone down a darker path.

If the selfish fictional character of “Casey Puccini” were the whole show, I Don’t Care might risk being a too-bitter pill to swallow. Fortunately, Puccini had the good sense to cast the soulful, Jeff-award winning actress Sasha Gioppo opposite him (as an actress named, you guessed it, Sasha), and much of this modest film’s comedic power results from waiting for her character—initially good-natured but unpaid and underfed—to crack under the guidance of her ungrateful and indecisive “auteur.” The tension between the two reaches a boiling point in this modest movie’s best scene, where a paranoid Gioppo accuses Puccini of stealing her necklace during the course of a particularly stressful shooting day. It’s a mini-masterpiece of cringe humor that should resonate with anyone familiar with the sometimes-harrowing process of artistic collaboration.

For more information about the Chicago Premiere of I Don’t Care visit the Chicago Filmmakers website.


Talking RENDEZVOUS IN CHICAGO on Playtime with Bill and Kerri

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I will be on the Playtime with Bill and Kerri radio show this Sunday from 1-3pm to talk all about my forthcoming feature RENDEZVOUS IN CHICAGO. Playtime with Bill and Kerri is a fantastic show dedicated solely to the arts and I cannot wait to discuss my film with the witty and erudite hosts! Also, I MAY just drop some info about some early RENDEZVOUS screenings… If you’re in Chicago, you can tune in and listen live at WCGO (that’s 1590AM on your radio dial). This should be the first of many media appearances about the film!

*UPDATE* – You can watch a Facebook Live video of the interview here (segment begins at 29:30).


The RENDEZVOUS IN CHICAGO Official Soundtrack Album

Below are the liner notes I wrote to accompany the brilliant score that Anaphylaxis (aka Jason Coffman) provided for my new film RENDEZVOUS IN CHICAGO. The film will not premiere until this fall but you can listen to the entire soundtrack by streaming it (or, for a measly $3, downloading it!) at Bandcamp now. Enjoy!

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The music cues I wrote into the script for RENDEZVOUS IN CHICAGO describe the soundtrack as containing “dreamy and ethereal electronic pop.” As late as the film’s pre-production stage, in March of 2018, I still had no clue who I was going to approach about composing the original score when a funny thing happened: I heard the sensational new Anaphylaxis album DARK LOVE, DARK MAGIC. I instantly knew that it was the exact sound I had been looking for. The driving rhythm and shimmering synthesizer of “Blue Devil Suite” sounded custom-made for my planned opening-credits sequence featuring abstract shots of the guardrail on Lake Shore Drive. “To Burgundy and Back” — and its accompanying eerie “brushed bell” stem track — possessed a dark majesty that I knew would provide the necessary counterpoint to the rapid-fire screwball-comedy dialogue of my first scene between Clare Cooney and Kevin Wehby. I soon realized that I wouldn’t need a composer after all; digging through the Anaphylaxis back catalogue gave me such riches as “Lin Minmei,” a full-on house jam that proved the perfect accompaniment to our “strip literary trivia” sequence, and “Dr. Nera Vivaldi,” a minimalist, acoustic guitar-driven song that underscored the poignancy of the extended scene where Rashaad Hall and Matt Sherbach’s characters walk from their Rogers Park home to the lakeshore nearby.

There was only one problem: we had one day left to lock picture before the movie was due to move on to color correction and post-sound mixing when my editor, Eric Marsh, informed me that we needed an additional song — one that could play under a scene in which Nina Ganet’s character finds her boyfriend in bed with another woman. As if right on cue, I received an email from Jason Coffman, mastermind behind Anaphylaxis for the past quarter century, informing me he had just composed a new track for the film entitled “Midsummer Masque.” Although Jason had yet to watch any of the footage and I had not spoken with him about the kind of music we needed for the film’s third part, “Midsummer Masque” began with an ominous burst of electronica that seemed to emphasize Nina’s righteous anger with sublime aptness; it was as if Jason and I had been in telepathic communication when he composed the track. When I saw how Eric married this song to the galvanic moment of Nina slamming the front door to her character’s apartment I nearly wept with gratitude at the cosmic coincidence of what Jason had done. Then again I remembered an old saying about how there are no coincidences. The soundtrack album for RENDEZVOUS IN CHICAGO consists of the aforementioned tracks plus a 1923 recording of blues legend Eva Taylor singing “Baby Won’t You Please Come Home,” a then-new composition co-written by her husband Clarence Williams. The resulting compilation offers something old and something new, and serves as an ideal introduction to the wonderful sonic world of Anaphylaxis.

— Michael Glover Smith, June 2, 2018


The 25th Annual Chicago Underground Film Festival

The following piece on my best bets for this year’s Chicago Underground Film Festival, which kicked off last night and runs through this Sunday, was posted at Time Out Chicago today.

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The Chicago Underground Film Festival reaches a significant milestone with this year’s 25th-anniversary edition, which runs from Wednesday, June 6 through Sunday, June 10. CUFF’s notion of what constitutes an “underground” film has always been admirably expansive and this year’s program is typically eclectic in its offering of narrative, documentary and experimental works. We picked one movie to see from each category.

Savage Youth is a fact-based crime drama set in Joliet that features half-a-dozen phenomenal performances by a cast of young adult actors. Will Brittain (Everybody Wants Some!!!) and Grace Victoria Cox (Twin Peaks) stand out as a budding horror-core rapper and a visual artist, respectively, whose lives veer inexorably into tragedy after they begin dabbling in drugs and petty crime. The film’s depiction of an economically depressed and racially divided small town milieu looks especially trenchant and disturbing in light of the current political climate (although it was shot before the 2016 election), but writer and director Michael Curtis Johnson allows his characters moments of tenderness worthy of early Nicholas Ray.

Lori Felker’s Future Language: The Dimensions of Von LMO is a fascinating documentary about an eccentric subject: a cult figure and pioneer of the No Wave music scene in New York City in the late 1970s who claims to be a “hybrid alien” from the “planet Strazar.” Felker’s film, eight years in the making, is an impressive work of both archaeology and craftsmanship that uses every stylistic trick in the book—from archival footage to animation—to chronicle Von LMO’s many rises and falls; but the director’s masterstroke was allowing the true subject of the movie to become her complicated friendship with this weirdo. Future Language is as much a thorny love letter from one eccentric artist to another as it is a warts-and-all portrait of a gifted musician haunted by demons of his own making.

DANCER is a wordless 8-minute experimental short that repurposes footage from Vincent Gallo’s Buffalo 66 to exhilarating effect, taking a well-known scene of Christina Ricci tap dancing and “making it strange” by chopping it up, adding split screen and heavily distorting it all with a video synthesizer so that the fragmented and fuzzy images that result become a treatise on female beauty as well as the objectification of said beauty. Director Haley McCormick’s analog-painterly aesthetic is perfectly complemented by a gorgeous original score composed and performed by Heart of Palm (a side project of No Coast / No Hope operator Shea Hardacre).

For more information on the 25th Chicago Underground Film Festival, including ticket info and showtimes, visit the CUFF website.


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 itself a trilogy; 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. This tripartite structure allowed me to come up with a distinct visual style for each vignette in terms of color palette and camera movement. 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


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


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