The Chicago International Film Festival is a movie lover’s delight, showcasing more than 100 feature films and nearly 60 short films. While it was impossible to see it all, it was possible to curate a slate of films that piqued my curiosity. In addition to special events, red carpets and interviews, I saw 19 feature films and eight short films over 12 days. Here are the films that made my top five “most” list. Each is worthy of your viewing, so keep an eye out for opportunities to see them.
This documentary by Ava DuVernay takes a look at the 14th Amendment of the U.S. Constitution and what it means to exist in the world today and to the promise that America makes to its citizens. Through a series of interviews, DuVernay connects the 14th Amendment’s origins to today’s attacks on its protections, including birthright citizenship and the right to vote. The film also addresses the clause concerning disqualification from office for insurrection or rebellion. What might feel like a lecture becomes more of a call to action to participate and protect fundamental ideals of equality and justice. DuVernay does an exceptional job of weaving together interviews, commentary by politicians, educators and even comedians, historical material and current-day footage to illustrate the relevance of this discussion and simply why we should care. Powerful, personal and promising.
“The 14th” will premiere worldwide on Netflix on Dec. 4, following a theatrical release in select U.S. theaters beginning Nov. 27.
This film follows the life of actor Ian Charleson, who finds himself in the middle of an opportunity and a tragedy. He has AIDS and is offered the part of Hamlet at the National Theatre of London after Daniel Day-Lewis drops out. Charleson’s struggle asks the question: Is it better to live to have life, or is it better to have life while you live, truly live? There is nothing more poignant than Hamlet’s existential investigation of “to be or not to be, that is the question.” This is a question Charleson, who died in 1990, confronts with vigor and valor. The filmmakers deliberately tie Hamlet’s plight to Charleson’s journey, elevating the play beyond a mere performance within a film. It becomes a commentary on mortality steeped in Charleson’s reality. Beautifully shot, excellently scored and personally piercing.
“Elsinore” will open in limited theaters Nov. 20.
This film completes the work of famed filmmaker William Greaves. The documentary brings together Black luminaries of the Harlem Renaissance to discuss that time period and its impact. Greaves’ son David and granddaughter Liani embarked on the humongous task of taking hours of footage and allowing viewers to be a fly on the wall as these groundbreakers reminisced and debated what it meant to be Black and brilliant. You will laugh as they laugh, ponder as they pontificate, question as they challenge each other and marvel as they recount the memories of those who helped pave the way. “Once Upon a Time in Harlem” allows us to witness history and passes the baton for us to continue the conversation today.
“Once Upon a Time in Harlem” opened in theaters in October and is not available for streaming yet.
Marie, a nursing home director, struggles to convince her institution to revolutionize patient care from speed and profit to humane, self-affirming treatment. A chance encounter with Mari, a terminally ill playwright and director, sparks a bond that reshapes Marie’s quest to make the seemingly impossible possible, providing care that restores dignity and individuality.
“All of a Sudden” is loud in its protest against the mistreatment of the elderly, yet tender and quiet in the friendship and love Mari and Marie share. That bond extends to their approach to patient care. It is heartwarming to see residents viewed as people rather than profits or problems. The film asks what it truly means to live, proposing that everyone, including Mari, Marie and the elderly, deserves that chance. “All of a Sudden” is a powerful protest softened by life’s reality and affirmed through the dignity and humanity demanded by its finality.
“All of a Sudden” is scheduled for a U.S. theatrical release on Nov. 25.
Sophie Okonedo plays Helen, a mother whose promising daughter, Callie, is graduating from high school. Minnie, played by Katherine Mallen Kupferer, is Callie’s best friend who lives in the shadows of Callie’s talents and personality. A tragic accident leaves Helen and Minnie trying to find their place in this new world without Callie. Their need to stay connected to Callie in some form or fashion threatens boundaries and creates a dysfunction that is simply unsustainable. “Mouse” is an interesting exploration of grief through the eyes of both Helen and Minnie but also all the lives Callie touched. It is sad, funny and unnerving, but the range of emotions is necessary for these two to discover life after loss. Chicago directors Kelly O’Sullivan and Alex Thompson present a slice of life that feels real and thoughtful. And the lead actors bring an authenticity to the roles that says, “I know these people and I know this pain.”
“Mouse” in open in limited theaters Nov. 6, before expanding to wider audiences on Nov. 13.
