Category Archives: Chicago Movies

Ksenia Ivanova’s JACK AND ANNA


Although it has yet to premiere in Chicago proper, one of the most impressive Chicago-made shorts of recent years is Jack and Anna, a Columbia College MFA thesis film by the Russian-born writer/director Ksenia Ivanova. Since premiering in 2019, this poignant and impeccably crafted 15-minute period drama has screened at dozens of festivals around the world, including the prestigious Sidewalk Film Festival in Birmingham, Alabama, and has deservedly picked up multiple awards in the process. If there is any justice in the universe, Ivanova’s movie will receive the Chicago red-carpet premiere it richly deserves when the coronavirus eventually blows over and its festival run resumes. This would only be fitting given that the cast and crew consist entirely of Chicagoans who should be able to see their work on the biggest screen possible.

Jack and Anna takes place in Colorado in 1913 but tells a story of intolerance and same-sex marriage that feels globally relevant today. The theme of (in)justice is introduced in the opening shot of a judge’s harsh eye, which is trained, in a cool-hued courtroom, on defendant Helen Hilsher, a young woman accused of “impersonating a man” for the previous two years. The narrative then flashes back to depict happier times in the relationship between the tomboy-ish Hilsher (living as “Handsome Jack” Hill) and one Anna Slifka, who were married and owned a farm before their secret was discovered and they were legally forced apart. Kate Smith is superb as Helen/Jack — her courtroom scenes could draw tears from a stone — but Brookelyn Hebert is equally affecting in the less showy role of Anna: Her non-verbal reaction shots are a masterclass in understated screen acting. These performances, like the movie’s impressive technical specs, ultimately transcend the “student film” designation.

Chicago Shorts at the Beloit International Film Festival

I wrote the following capsule review of the Beloit International Film Fest’s “WI / IL TWO” shorts program for Time Out Chicago.

A Missed Connection. Photo courtesy of Third Wheel Entertainment.

Chicago Shorts Shine at This Year’s Beloit International Film Festival

Located in a picturesque small town in Wisconsin just north of the Illinois border, the Beloit International Film Festival is a gem of a regional fest that has long featured an impressive roster of Midwestern filmmaking talent, and this year’s lineup is no exception. Any Chicagoans planning on attending the 2020 edition of BIFF, which kicks off tonight, Friday, February 21, and runs through Sunday, March 1, would do well to check out the “WI / IL TWO”shorts program: It features a contingent of unusually strong Chicago-made short films. Among the works screening in this program (and thus vying for the fest’s highly competitive “Best Illinois Short” award) are Matthew Weinstein’s A Missed Connection, Layne Marie Williams’ Golden Voices and Eve Rydberg’s Home. This program screens at Bagels & More on Friday, February 21 at 7:30pm and again at the same location on Saturday, February 22 at 7:30pm. Filmmakers and cast members from all three short films will be present for a Q&A session following both screenings.

A Missed Connection is an emotionally resonant study of two college friends, Jacob (Tyler Pistorius) and Lauren (Kimberly Michelle Williams), reconnecting in a coffee shop by chance on a wintry night. That writer/director Matthew Weinstein packs a bit too much “character arc” into the brief run time is a welcome problem in an age of films of too little ambition, and one that is compensated for by spectacularly subtle lead performances and gorgeous Rembrandt-esque visuals. Golden Voices is a poetic horror film about a ghost-chasing podcaster (Kalika Rose) who stumbles upon sleepwalking children whispering of “gold” in rural Indiana. Director Layne Marie Williams, aided by cinematographer Grace Pisula (whose Gold Point Studio produced), packs a wealth of haunting atmosphere into a fleet 14 minutes that will likely leave viewers wanting more; this could easily be the pilot for a web series. Home, a pungent dramedy about the reunion between a father/daughter duo, both on the verge of homelessness, serves as a terrific showcase for two of Chicago’s finest theater actors (Francis Guinan and Carolyn Hoerdemann, who also co-wrote); when actors can cause your heart to lurch by interacting with a tomato—you know you’re in the presence of art.

For more information about this year’s Beloit International Film Festival, including ticket info and showtimes,visit the BIFF website here.

ROY’S WORLD at the Glasgow Film Festival


ROY’S WORLD, the documentary film I produced about the childhood of the great writer Barry Gifford (WILD AT HEART) in Chicago during the mid-20th century, will have its World Premiere at the Glasgow Film Festival at the end of this month. I will be in attendance for a Q&A following both festival screenings (on 2/28 and 2/29) along with the film’s director, Rob Christopher. Any UK friends interested in attending either screening, please check out our film’s page on the #GFF20 website here.

American friends: Penguin/Random House books will be publishing a new collection of Barry’s “Roy” stories (1973-2000) as a tie-in to our documentary this September. It is available to pre-order now here.

Filmmaker Interview: John Otterbacher

The following interview with Moving Parts producer John Otterbacher, appeared at Cine-File Chicago today ahead of the film’s Chicago Premiere at the Gene Siskel Film Center tonight.


Interview with MOVING PARTS producer John Otterbacher

By Michael Glover Smith

MOVING PARTS is an auspicious debut feature for American writer/director Emilie Upczak. This potent social-realist drama, which deals with the smuggling of a young Chinese woman, Zhenzhen (Valerie Tian), to Trinidad and Tobago where she falls into a life of prostitution, admirably refuses to either exploit or exoticize its subject matter. Upczak will be on hand to discuss the film when it receives its local premiere at the Gene Siskel Film Center on Friday, January 3. Producer John Otterbacher will join her for the Q&A at that screening and will also appear for audience discussion on Tuesday, January 7. I recently spoke to Otterbacher at his Chicago studio where most of the post-production on the film was carried out.

Michael Glover Smith: How does a filmmaker from the Midwest end up producing a film about a Chinese woman living in the Caribbean?

John Otterbacher: In my late 30s I went back to film school to get an MFA at the Vermont College of Fine Arts. Totally fell in love with the program, loved the people there. My partner in crime, day one of being in Vermont, was Emilie (Upczak). We just clicked. It was her thesis project to write this script. But I’d produced films before and I’m hanging out with Emilie and she’s like, “You’ve made movies. Can you help me make this movie?” So she put me on the project early as a producer and kind of tapped me for knowledge. And while we were in school, she applied for and got a grant in Trinidad, which was a large amount of the funding for this. Trinidad’s economy was up, they were trying to encourage filmmaking and art in the area, and she had lived in Trinidad: She ran the Trinidad and Tobago Film Festival. So, we graduate and within a year of her graduating, she makes the film. I wasn’t even there for the shoot but I helped with crewing up, equipment, story, budget, everything. And she had a plan for post-production; she was trying to take advantage of a tax credit in Puerto Rico. So post-production started there but it wasn’t working out. And I said, “let’s bring it here (to Chicago). I’ve got my team.” Every film I’ve been on, by necessity, I’ve had to take all the way through to delivery. Every film I’ve worked on has come through this space. You do it enough times and you feel confident. And I’ve got a good team of people who help me. With Emilie and I, there’s a trust thing. I think that’s one of the most important things about the director/producer relationship that gets overlooked. People think producers are about money. I’m not a money guy. I’m a “how do we get things done?” problem solver. How can we make the movie better? So that trust between the two of us is key. She came here and she worked with my editor, Jon Gollner, and sound designer, Kris Franzen. And we worked with another one of our VCFA classmates, Rafael Attias: He’s in Rhode Island but he’s from Venezuela. He’s amazing. He did the original score for the film.

MGS: Which is great, by the way.

JO: Thank you. We were very happy with it. He knows what that place sounds like, that part of the world. But he also added sound-design elements. He would bring elements to us and Chris would mix it. Chris is from the Midwest. He doesn’t know what Trinidad sounds like. But, between Emilie and Rafael, they were like, “You need these ‘peepers,’” these little frogs and different things. And they really build the world of the film for me.

MGS: I think the film does a good job of putting a human face on the issue of sex trafficking, which is something everyone has heard about but is something of an abstract concept for most people. Was that always the goal for you guys?

JO: Emilie, for a long time, was like, “This is not a sex trafficking movie.” She said, “This is a movie about a young woman who chooses to follow her brother to another country, for family reasons, and makes a series of bad choices influenced by dubious people.” And a lot of people talk about her being a prostitute. Prostitution isn’t sex trafficking. Well, they overlap, let’s say. I’m not an expert in that area. In Emilie’s opinion, she’s like, “This is a choice for some people. And I’m not saying Zhenzhen made good choices. She was in a difficult spot.” So that was something we constantly discussed because, for me, it was always a human trafficking film. I just thought that was, I don’t want to say “the angle,” because I don’t want to put it in a box, but you are always looking for ways to describe the film to people. We’re talking about a young woman who, initially, was smuggled; she paid someone to be moved.

MGS: And that person then demanded more money as soon as she arrived.

JO: Right, and that’s where smuggling and human trafficking very much overlap. For me it is a human trafficking movie. But, initially, Emilie wanted to tell the story and put a human face on something that most of us overlook. She didn’t want to paint Zhenzhen as this victim. I think that was really important to Emilie. You can see how someone makes a series of choices because of the situation they’re in. It’s not as simple as “These bad people went to this place and grabbed these people and brought them here as slaves.” It’s a series of choices and people taking advantage of people in bad spots combined that leads someone to this point. She definitely wanted Zhenzhen to be a real character and there were some points in the edit where there had been some storylines developed where it was more of a crime thriller. And we got feedback where people were like, “Oh, you should develop that more.” And we were like, “But we didn’t shoot that, really.” And so there was this strange pressure to make a crime thriller or a psychological thriller, which are genres that people understand – as opposed to this movie, which I think challenges people in a different way. And so, at the end of the day, Emilie felt strongly, “This is the story that I want to tell.”

MGS: Valerie Tian is great as Zhenzhen. She has this interesting quality of being very naturalistic while also having kind of a movie-star quality. She knows how to hold the screen. I know she’s a professional actress and I assume a lot of the rest of the cast are non-professionals. Can you talk about the casting process and blending different performance styles?

JO: Casting, as you know, is critical. You have to make certain choices by necessity. Valerie was not a choice made out of necessity. Casting on a low-budget film is often: I’ve got to cast these characters and I’m going to have to use locals and people where this is not their full-time job but they’re enthusiastic. If you’re doing something authentic and you have a good relationship with the community, which Emilie did, people want to be involved. And then I need to bring in these people who are pros: Valerie and Kandyse (McClure) were both in that department. And the willingness of people to go to Trinidad – and I’m not sure if it was the allure of something exotic and different, which I’m sure helped – but actors, if they’re into something, get excited and are willing to do things that they wouldn’t do for a big studio film or T.V. show. So there was a great mix. I thought Valerie was great. This is not a knock on Valerie but, the first cut of the movie, I didn’t think that her performance was great. It’s interesting how performances can kind of come out in post-production. That’s where my hands, particularly on the creative side, were most in this film. That was really interesting to me. Because I do think now, I agree with you, her performance is the movie in a lot of ways.

MGS: Her facial expressions are always compelling.

JO: It did come out in the editing. The first pass: you just drop in the best-looking takes or the takes that are like, “We’ve got to get all the lines of dialogue in the film.” You follow the script; the script is your road map to the film. Then you get past the rough cut and you’re like, “Screw the script. The script doesn’t mean anything at this point. This is the footage we have.” We looked for what is the essence of her character. Sometimes the essence of the character is not necessarily in the best takes. You think it is but then it’s not. We certainly didn’t “create” her performance but post-production is a place where you can find the right performance for the film.

RENDEZVOUS IN CHICAGO on Amazon Prime Video!

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Just in time for the holidays, Rendezvous in Chicago is now streaming for FREE on Amazon for Amazon Prime members! (If you’re not an Amazon Prime member, you can still rent it for as low as $1.99.) Big thanks to our distributor Cow Lamp Films. Please consider watching it with someone you love, leaving a review and sharing in your social networks:

Interview with KNIVES AND SKIN director Jennifer Reeder

I conducted the following interview with Knives and Skin director Jennifer Reeder for Cine-File Chicago.

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Interview with KNIVES AND SKIN director Jennifer Reeder
By Michael Glover Smith

Imagine a feminist take on the Hollywood teen comedies of the 1980s, one that examines how the trauma and grief engendered by a missing person’s case can reverberate through an entire society – strengthening the bonds between some characters while exacerbating the tensions between others. Now imagine that film being lit like a giallo and punctuated by a capella musical numbers. Can’t do it? That’s probably because KNIVES AND SKIN, the splendid second feature by writer/director Jennifer Reeder, doesn’t look or sound like anything you’ve seen before. The locally made film, produced by Newcity’s Chicago Film Project, has taken the festival world by storm ever since its World Premiere at the Berlinale at the beginning of 2019. KNIVES AND SKIN will begin streaming on VOD courtesy of IFC Midnight on December 6 and open at the Music Box Theatre for a theatrical run beginning, appropriately enough, a week later on Friday the 13th. I recently spoke to Jennifer in person about her cinematic and literary influences and her singular approach to editing, lighting and music.

MGS: I loved your film. Are you tired of the TWIN PEAKS comparisons yet?

JR: No, I’m not, I’m not! There are other comparisons that have not come up that I am very thankful for. But TWIN PEAKS is not one of them.

MGS: I think TWIN PEAKS is the greatest thing ever but your film is very different, stylistically and narratively. The comparison does seem valid in the sense that they both have central mysteries that serve as a narrative hook: In your case, the disappearance of Carolyn Harper allows you to go into all of these different homes and paint a portrait of an entire community. Was the concept of a missing girl always the point of origin for you?

JR: No, the starting point was actually wanting to write a story about a group of girls who had been very close when they were younger, like maybe in middle school, and had grown apart, and something happens to them that sort of forces them to be friends again, to come back together. I wanted to make a gentle, girl-power film, you know? I had made a bunch of short films leading up to this that were suggesting coming of age is a lifelong process, and sort of dealing with the lives of adolescent girls. There was often a dark element. But with KNIVES AND SKIN, I was driving back to Ohio to see my mother along this rural two-lane road – very typical of that area, or all of the Midwest, really – and sort of imagined these three goth-punk girls walking along that road – on their way to band practice, on their way to school, on their way home from school – and just knowing that there are kids in small towns all over the country who feel like misfits in their environment. They feel like misfits in their own skin but they actually look like misfits in their environment. I thought that was a great visual analogy for so many people who feel like they’re at a crossroads in life. So I started thinking about who those three girls are and what is about to happen to them that will change their lives forever. It’s such a typical moment in small towns: If someone, in particular a young person, goes missing, it gives the entire town an excuse to drop everything and refocus their lives – oftentimes in a way that transforms their lives, and everyone can exorcise their own psychosis and obsession through this other event. I feel like that general structure is what I liked about TWIN PEAKS: All those psychotic threads among the townspeople led back to Laura Palmer. But I was also influenced by RIVER’S EDGE, and that film did the opposite thing: That dead girl became a fissure through the lives of these young people but she was much more invisible than Laura Palmer. So it’s kind of fusing those two stories. But in terms of the world of David Lynch, I actually feel much more influenced by BLUE VELVET.

MGS: I thought about that while watching KNIVES AND SKIN.

JR: The kind of unraveling of another horrific mystery, and those two main characters trying to figure out what exactly has happened, and lots of other people are involved, and the mistrust in the town… Or even something like LOST HIGHWAY I feel has this really great way of suggesting these parallel worlds. For some people that can be a very frustrating experience but I really love how he creates this kind of plot-maze and oftentimes the plot is like a staircase that goes nowhere. It’s like a funhouse.

MGS: A puzzle with no ultimate solution.

JR: Correct. Some people don’t like it at all. I find it wickedly entertaining.

MGS: I thought about BLUE VELVET in terms of your production design. One thing Lynch does that I think is amazing, which you also do in a different and more female-centric way, is he makes films that are very culturally specific that are also universal and timeless. There are large sections of BLUE VELVET that feel like they could be taking place in the 1950s but then one little detail will snap you back into the present. Like Kyle MacLachlan’s earring will make you realize, “Oh, wait, we’re in the ‘80s.” Your film is similar because so much of it seems like it could be taking place in the ‘90s or the ‘80s or the ‘70s.

JR: I really tried to eliminate phones but there’s one scene where you realize they all have smart phones.

MGS: Right, when everyone gets the text from Carolyn. Well, it’s not very cinematic to see people spending a lot of time on their phones!

JR: Right. I did that on purpose. I wanted it to feel frozen in space and time. The ‘80s sensibility has a lot to do with my own autobiography but also the ‘80s were such a delicious time for teen films. So this is a film that sort of knows it’s a teen film. It has a kind of self-consciousness about it. And there’s something about ‘70s Italian horror, the colors of that, which felt really relevant. And then I think, certainly, there’s a kind of ‘80s club-kid fashion that exists among some of those girls.

MGS: A lot of high-school fashion is timeless: The letter-jackets, the cheerleader uniforms, the band uniforms…

JR: Correct. Yeah, and I wanted those characters to feel iconic or emblematic. Not so much like caricatures, although maybe when you’re first introduced to them you think you know them: You think you know who a cheerleader is, you think you know who a girl in the band is, you think you know who the jock is. But I also wanted for those expectations of those characters to unravel over the course of the film.

MGS: You were successful in that. Speaking of the ‘80s, I saw that someone recently compared KNIVES AND SKIN to Kathy Acker and that you were happy about that. I imagine Blood and Guts in High School must’ve been formative for you?

JR: Yeah, absolutely. It was super-cool to have a literary reference for the film. And, in that same tweet, Audra Lorde was mentioned. They’re very different writers but both, rest in peace, my queens. I feel like I’ve been deeply influenced by literature as much as by other films. And I think there have been so many female writers who have taken on the same subject matter as this film – a kind of abject approach to femininity or a kind of toppling of a patriarchy or dealing with gender and race in a very pointed way. People have asked me a lot about women and genre and “Isn’t this an interesting time for women in genre because so many women are taking it on or being handed opportunities to deal with genre?” But people forget that, in terms of literature, Mary Shelley invented Frankenstein.

MGS: As a teenager!

JR: Yes, exactly! Or Daphne DuMaurier, from Rebecca to The Birds to My Cousin Rachel and on and on. Or Patricia Highsmith. We could go on and on. There are so many women in literature who have dealt with such complex subject matter in terms of female identity.

MGS: And, in Acker’s case, female trauma.

JR: Female trauma, for sure. So that comparison, it just felt like that was exactly my audience. Not that I went into this thinking about Blood and Gutsor thinking specifically about Kathy Acker but I do feel like I have these kind of wicked angels on my shoulder when I go into telling certain stories. And Audra Lorde and Kathy Acker are both right there along with me.

MGS: Let’s talk about this film as a portrait of the Midwest. It feels very Midwestern but I couldn’t tell if you cared exactly where it was set. Is it Illinois? Is it Indiana? Is it Wisconsin? Is it Ohio? It could be any of those places.

JR: Correct. So many of the films that I’ve written – almost every single one of them – in my brain, the landscape is Ohio, which is where I grew up. However, I’ve been living at the border of Illinois and Indiana for longer than I lived in Ohio, actually. And I will never not write films about the Midwest even if it’s more of a city film rather than a rural film. There was a time when we thought about shooting this in Louisville, Kentucky. Someone who was interested in producing it was living in Louisville. And that seemed interesting to me but then it also occurred to me I know nothing about Louisville, Kentucky. And perhaps even setting it in Kentucky and thinking about it as being Southern Gothic rather than Midwestern Gothic, I didn’t really know what that world was. So I wanted to set it in a place where it’s unidentified. The high school is Big River High School and that doesn’t even identify the state that they’re in. And I don’t presume that the Midwest owns refineries or quarries, you know? But it also feels like that kind of landscape – the refinery, the quarry, a river running through a town – does feel Midwestern. And there’s something about the sort of awkwardness and stubbornness of the people in this film that also feels Midwestern. It also felt really important that this film is not a city film but yet it’s very inclusive in terms of the cast, which to me feels really authentic. Where I grew up in Ohio and where I live right now in the northwest tip of Indiana, both have small-town Midwestern sensibilities and they’re racially really diverse. I think there are a lot of films that are made for young people of color or with young people of color in front of the camera and they’re city films and I just think that that’s not completely accurate.

MGS: It feels like your attitude toward the town is ambivalent. The scene that resonated the most for me is the one where the kids go up on the roof. It made me think about where I’m from in North Carolina – because they’re all looking at this highway that leads out of town. And I’m thinking that some of them are going to leave and some of them are not. This town is a place where terrible things can happen and some people want to escape from that. Could you talk a little bit about your attitude toward the town?

JR: I was so happy to leave my hometown. There was a trail of scorched earth between there and here. But I do still write stories that take place in and around central Ohio so I do have a love for where I grew up but not in a nostalgic or sentimental way. That town is where I learned to be resilientto that town on some level, you know?

MGS: It made you who you are.

JR: It made me who I am. But what’s remarkable to me and what I injected into this film, and I don’t know how evident it is, are all the people who are my peers and even the peers of my older siblings who never left where they grew up and never wanted to leave where they grew up. So, the adults in KNIVES AND SKIN – there is the relationship between, we’ll call her the “pregnant mom,” and the clown dad, and when they are breaking up there’s a suggestion that they’ve known each other a long time. That they were actually maybe sweethearts in high school and have never left that town. And that’s just remarkable to me. I can understand growing up in Chicago, growing up in New York, growing up in L.A. and never leaving because those cities evolve on some level. I think that small towns don’t evolve. And the idea that you would yourself want to evolve but that you are literally running into your high-school friends at the grocery store just seems like a nightmare to me. My mom still lives in the house where I grew up. And when I go home to visit, I still have a cluster of friends I’ve known since elementary school who I love to see. A lot of them went away to college and came back and are doing remarkable things but they have the context of at least going away for a little while and bringing all of that evolution back to whatever they’re doing. So it’s ambivalent in the sense that I’m very happy I left, I’m very happy for the young people in this film who will leave, and I still have love for the people who didn’t leave even though that wasn’t the path for me. 

MGS: The word “dreamlike” has been used to describe this film a lot, which I think is the result of the way you use lighting, color, music and, especially, dissolves. This is something I don’t think many people have remarked upon but your use of dissolves strikes me as one of your signature aesthetic moves. I’ve talked to a lot of editors who don’t like dissolves. They’ll say, “They look good on film but not on digital,” or “They look good in black-and-white but not in color.” But you use them relentlessly. What is the appeal for you?

JR: On the one hand, I love putting two ideas in the same frame. Literally, you can put two people or two ideas in the same frame. And especially with something like this where there’s this ensemble cast, it was a way for me to suggest simultaneity. And oftentimes I would shoot heads or tails knowing that there were moments I could dissolve, and that there would be this great way that I could transition from one scene to the next physically through that dissolve and I knew, “This is going to look great dissolved into that moment.” And my editor, Mike Olenik, has perfected the long cross-dissolve. He’s got a really tricky way where – it takes him a long time once we know where those dissolves are – but he rebuilds, frame by frame, those dissolves and will sort of key out faces or something like that so that faces maintain longer. If you want to do it, it’s not just slapping on that cross-dissolve filter and moving on with your lives. It’s really making a pointed decision and then maintaining the integrity of the heads and tails of both of those scenes and really being able to finesse it and nuance it. But, I say this all the time, I went to art school, I didn’t go to film school. So there’s something about that kind of layering and collaging within a specific frame that aesthetically I really like. But it’s not a split screen. I hate a split screen and I love a long cross-dissolve. I feel like Mike and I have gotten really good at figuring out what scenes need them and then how to physically finesse that material so that those cross-dissolves are quite special.

MGS: Your use of color is also extraordinary. I wanted to ask how you decide what colors to use because they can really change the whole emotional tone of a scene. I’m thinking specifically of the first scene in the English class, there’s this pink light shining on the sides of the students’ faces. I thought, “This is amazing because it’s totally unmotivated.” It’s not a realistic use of color but, in a way, I wish my high school had looked like that. Who decides on the pink? Is that a discussion you have with your cinematographer?

JR: So it’s me and Chris Rejano, who shot a bunch of my films in the past 5 or 6 years, and our gaffer, Louie Lukasik, who’s actually the head gaffer on CHICAGO PD. He doesn’t always get to drench scenes in hot pink. But I said that I wanted the lighting to feel extraordinary in the sense that I wanted the whole thing to be hovering above reality. So, yes, the local light had a tint and the local light oftentimes had an invisible source. I mean,you’re a filmmaker so you can say, “Where is that light coming from?” Then when we switch to the other angle, you say, “I don’t even see the source of that light.” But I think for an audience who’s not so filmmaking-savvy, it could just be enough to kind of off-balance, to provide a different sort of tension in a scene. Even though those pinks and purples are really lovely, just not knowing where that light is coming from, those moments create a kind of unbalance, a kind of dis-ease. And I wanted the film to feel really femme! So I was like, “It’s got to be pink and purple!” Even the yellows and cyans that we used are still sort of poppy and not so much these darker greens or darker blues in a Cronenberg sense. They still are kind of delightful. And we shot with these vintage anamorphic lenses and so we knew that those lenses would do these really special things to the soft edges of those lights. And being able to fill the whole frame sometimes with these pools of contrasting light sources would just elevate the emotional and visual atmosphere of the film. On the very first day of shooting we put a pink light in one of the kitchens and Louie came to me and said, “Is that too weird?” And I said, “Let’s just assume we’re going for weird. It’s never going to be too weird.” Then we did all the color grading in Warsaw, Poland, with a woman was so in love with the film because Polish cinema still tends to be sort of drained of color. So she really loved being able to color this film.

MGS: To do something she normally wouldn’t be able to do? 

JR: Yeah. It’s definitely a film where “more is more,” and I had full creative freedom, and I just feel so thankful that it’s finding super-fans.

MGS: Let’s talk about the music. In addition to everything else you do with genre, the film is a true musical. I was delighted to hear all of those songs because it seemed like the lyrical content was expressing what was going on between the characters. I think “I’ll Melt With You” was when the two girls were each in their own bedrooms but kind of singing to each other. And “Girls Just Wanna Have Fun” was to me the real showstopper because you had kind of teased it in the dialogue so it was cathartic when it finally came. How did you decide which songs to use and were there any songs you wanted to use that you weren’t able to?

JR: Sure. A lot of the songs that are in there were some of the first choices: “Girls Just Wanna Have Fun,” “Our Lips Are Sealed,” “Blue Monday.” Even the Icicle Works song at the end, “Birds Fly (Whisper to a Scream).” I was working with a company here, Groove Garden, to get the publishing rights because we knew that we would re-arrange them and re-perform them. I wanted all the songs, when I knew that they were going to be re-arranged as a kind of lamentation where we would really listen to the lyrics, that the lyrics had to have narrative content. It is, in a way, kind of a Greek chorus. So I had a list of songs but it wasn’t like any old list of ‘80s songs. I knew that it had to be something that, in its original form, was really infectious and poppy. But in its kind of eulogized form had to have a lot of pathos, a lot of melancholy, a lot of narrative weight. One of the first songs that was in the script that got jettisoned because we couldn’t get anybody to even answer an e-mail or phone call was Madonna’s “Lucky Star.” Which is a song that I really love and I knew that, slowed down, could be really spectacular. But we couldn’t get anybody to respond whatsoever. And I wanted to use “Don’t Change” by INXS, which is such a great, empowering anthem but it’s evidently really difficult to deal with posthumous estates. I wanted to use a Smiths song, “Bigmouth Strikes Again,” even though I don’t agree with Morrissey’s current politics. But it was going to be extremely expensive even just for the publishing rights. So we were like, “Okay, that’s a hard pass.” And the same thing with Soft Cell’s “Tainted Love” – even though the Soft Cell version is a cover of the original – but that song is also extremely expensive. I love the “I’ll Melt With You” moment. That was always in the script – that they would dissolve into each other. And there’s a great scene in 1983’s VALLEY GIRL that also uses that song so it was kind of an ode to VALLEY GIRL. And then when I figured out how to deal with “Promises, Promises” – that sort of P.T. Anderson/MAGNOLIA moment where all of the characters sing together – that felt like a real revelation for me, if I could be like, “Oh, I did it!” Because I’ve loved that scene in that film for a long, long time and that also can be a real polarizing scene where I think that some people are like, “What was that?” Maybe even more so than the frogs in that film. But, for me, I always thought that was a really beautiful way to tie together this ensemble cast. So figuring out that song and who would sing it and – again, that’s all cross-dissolves – how I would shoot that and where people would be was complicated but I think it’s one of my favorite parts of the film.


I am pleased to announce that, thanks to our enterprising distributor Cow Lamp Flms, RENDEZVOUS IN CHICAGO is now available to stream! You can rent the film or make a digital purchase via Amazon Prime or you can watch it FREE via Tubi TV (no registration required but an ad will pop up every 18 minutes). Please share these links with those you love and, if moved to do so, leave a review on Amazon.



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