Albert Maysles never got to watch his last film with an audience, passing away just a month before “In Transit” premiered at the 2015 Tribeca Film Festival, but simply completing the documentary marked the realization of a long-held dream. Maysles had wanted to shoot a film about passengers on a train for decades, but had trouble finding funding for a documentary whose subjects could only be discovered after shooting began.
Now, the film is finally released — but its future remains uncertain.
“In Transit” played at roughly a dozen film festivals and was being prepped by Al Jazeera America for a theatrical run with the help of sales agent Submarine Deluxe when Al Jazeera’s U.S. arm was abruptly shuttered in 2016, leaving the rights to the film in legal limbo. Part of the problem was that Al Jazeera had agreed to finance a 50-minute documentary for TV, not a feature film, so determining who had the rights to the feature-length version was a legal quandary.
The Maysles Documentary Center has been trying to purchase the rights to the documentary themselves, a more than two-year process that remains unresolved; in the meantime, they’ve been able to arrange for one-week runs at the organization’s own cinema and at New York’s Metrograph, starting on Friday. The team behind the film hopes to introduce the documentary to more audiences in the future, whether through traditional distribution or self-distribution.
Read More: Review: Albert Maysles’ Intimate Iris Apfel Documentary ‘Iris’
These prolonged efforts are only the latest chapter in a project that, decades before its completion, had taken on a mythological quality. “People refer to it as his white whale,” said co-director Lynn True. “It just never came together for a lot of reasons, one being that it’s rather unwieldy just boarding a train and spontaneously meeting people and capturing their stories.”
In 2013, Maysles finally attracted the financial backing of Al Jazeera America, and with the help of co-directors True, David Usui, Nelson Walker and Ben Wu, began interviewing passengers on on Amtrak’s Empire Builder, the busiest long-distance train route in America, which makes the three-day trip between Seattle and Chicago.
The movie marked the first original production of the Harlem-based Maysles Documentary Center, which has its own 55-seat cinema. That wound up working in its favor — the original contract with Al Jazeera included the right to screen the film at the theater that carried the director’s name, so “In Transit” was always destined to show in at least one theater. (The Metrograph screenings were set up in negotiation between the theater and the film’s producers, not Al Jazeera, which is unaffiliated with the release; the producers declined to comment on the arrangement with the broadcaster, and Al Jazeera did not return requests for comment.)
Shot in the tradition of Direct Cinema, the documentary is made up of a series of interconnected vignettes, where passengers share their fears, hopes and dreams, or simply let the filmmakers capture conversations with friends, family and new acquaintances on the train.
“We just had to board the train cross our fingers that we would find interesting people who would let us film them,” said True. As she and the other filmmakers soon discovered, the simple act of asking where someone is going could be all it took to stumble upon fascinating documentary subjects. The “characters” in the film range from a young woman who opened up about being raised by crackheads to an elderly woman who had just visited a daughter she gave up for adoption 47 years earlier.
Shot during the height of the U.S. oil boom, the filmmakers frequently found workers traveling to and from the oil fields in North Dakota, or wives and partners of these workers, most of whom talked about the challenges of being away from loved ones for extended periods of time.
One of the central figures of the documentary is a pregnant passenger who was already passed her due date upon boarding the train, creating a uniquely stressful situation for the Amtrak crew, which had to monitor her on a daily basis and became something like an extended family. “That was just documentary magic,” said True.
Though Maysles had no way of knowing whether his decades-long ambition of shooting passengers on a train would lead to footage that could be edited into a compelling narrative, he was always drawn to how trains could bring strangers together, according to True. “He loved trains because of this unique ability they had to kind of support these unlikely friendships and interactions,” she said. “It was pretty interesting to me how many of the stories played into Albert’s vision so precisely — this idea that trains afford strangers the opportunity to connect in a way that they wouldn’t necessarily if they were just passing on the street.”
During segments in which single individuals speak directly to the camera, “In Transit” reveals that, regardless of age, gender or background, most people have a natural inclination to show their own vulnerability. “If you give people the chance to really be honest, people are so much more similar than we all give them credit for,” True said.
One of the key components to Maysles approach to documentary filmmaking was to avoid entering any situation with preconceived ideas or any sort of end goal. “He was such a proponent of observing quietly and listening and allowing stories to unfold on their own terms and follow things wherever they led,” True said.
According to Maysles’ daughter Rebekah Maysles, who served as a producer on his 2014 documentary “Iris,” about fashion icon Iris Apfel, one of her father’s original ideas for the film was to follow passengers off the train and continue shooting footage in their homes. As with most of his documentaries, however, formulating a strict plan was not part of the equation. “He didn’t really prepare himself at all,” she said. “I think it worked.”
Read More: Film Community Pays Tribute to Albert Maysles
Maysles wasn’t around to celebrate when “In Transit” won a special mention in the documentary feature category at Tribeca, but more important to Rebekah Maysles was her father’s reaction to seeing the finished film. “He loved it,” she said.
“In Transit” opens Friday, June 23 at the Metrograph and Maysles Documentary Center.
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Related stories'Documentary Now!': The Secrets to Recreating Film History the Right WayDaily Reads: How Hollywood Disrespects Respect Melissa McCarthy's Success, 'Unbreakable Kimmy Schmidt's' Post-Identity Comedy Utopia, and MoreMetrograph and Criterion Team Up to Bring You Criterion Live! With D.A. Pennebaker...
Now, the film is finally released — but its future remains uncertain.
“In Transit” played at roughly a dozen film festivals and was being prepped by Al Jazeera America for a theatrical run with the help of sales agent Submarine Deluxe when Al Jazeera’s U.S. arm was abruptly shuttered in 2016, leaving the rights to the film in legal limbo. Part of the problem was that Al Jazeera had agreed to finance a 50-minute documentary for TV, not a feature film, so determining who had the rights to the feature-length version was a legal quandary.
The Maysles Documentary Center has been trying to purchase the rights to the documentary themselves, a more than two-year process that remains unresolved; in the meantime, they’ve been able to arrange for one-week runs at the organization’s own cinema and at New York’s Metrograph, starting on Friday. The team behind the film hopes to introduce the documentary to more audiences in the future, whether through traditional distribution or self-distribution.
Read More: Review: Albert Maysles’ Intimate Iris Apfel Documentary ‘Iris’
These prolonged efforts are only the latest chapter in a project that, decades before its completion, had taken on a mythological quality. “People refer to it as his white whale,” said co-director Lynn True. “It just never came together for a lot of reasons, one being that it’s rather unwieldy just boarding a train and spontaneously meeting people and capturing their stories.”
In 2013, Maysles finally attracted the financial backing of Al Jazeera America, and with the help of co-directors True, David Usui, Nelson Walker and Ben Wu, began interviewing passengers on on Amtrak’s Empire Builder, the busiest long-distance train route in America, which makes the three-day trip between Seattle and Chicago.
The movie marked the first original production of the Harlem-based Maysles Documentary Center, which has its own 55-seat cinema. That wound up working in its favor — the original contract with Al Jazeera included the right to screen the film at the theater that carried the director’s name, so “In Transit” was always destined to show in at least one theater. (The Metrograph screenings were set up in negotiation between the theater and the film’s producers, not Al Jazeera, which is unaffiliated with the release; the producers declined to comment on the arrangement with the broadcaster, and Al Jazeera did not return requests for comment.)
Shot in the tradition of Direct Cinema, the documentary is made up of a series of interconnected vignettes, where passengers share their fears, hopes and dreams, or simply let the filmmakers capture conversations with friends, family and new acquaintances on the train.
“We just had to board the train cross our fingers that we would find interesting people who would let us film them,” said True. As she and the other filmmakers soon discovered, the simple act of asking where someone is going could be all it took to stumble upon fascinating documentary subjects. The “characters” in the film range from a young woman who opened up about being raised by crackheads to an elderly woman who had just visited a daughter she gave up for adoption 47 years earlier.
Shot during the height of the U.S. oil boom, the filmmakers frequently found workers traveling to and from the oil fields in North Dakota, or wives and partners of these workers, most of whom talked about the challenges of being away from loved ones for extended periods of time.
One of the central figures of the documentary is a pregnant passenger who was already passed her due date upon boarding the train, creating a uniquely stressful situation for the Amtrak crew, which had to monitor her on a daily basis and became something like an extended family. “That was just documentary magic,” said True.
Though Maysles had no way of knowing whether his decades-long ambition of shooting passengers on a train would lead to footage that could be edited into a compelling narrative, he was always drawn to how trains could bring strangers together, according to True. “He loved trains because of this unique ability they had to kind of support these unlikely friendships and interactions,” she said. “It was pretty interesting to me how many of the stories played into Albert’s vision so precisely — this idea that trains afford strangers the opportunity to connect in a way that they wouldn’t necessarily if they were just passing on the street.”
During segments in which single individuals speak directly to the camera, “In Transit” reveals that, regardless of age, gender or background, most people have a natural inclination to show their own vulnerability. “If you give people the chance to really be honest, people are so much more similar than we all give them credit for,” True said.
One of the key components to Maysles approach to documentary filmmaking was to avoid entering any situation with preconceived ideas or any sort of end goal. “He was such a proponent of observing quietly and listening and allowing stories to unfold on their own terms and follow things wherever they led,” True said.
According to Maysles’ daughter Rebekah Maysles, who served as a producer on his 2014 documentary “Iris,” about fashion icon Iris Apfel, one of her father’s original ideas for the film was to follow passengers off the train and continue shooting footage in their homes. As with most of his documentaries, however, formulating a strict plan was not part of the equation. “He didn’t really prepare himself at all,” she said. “I think it worked.”
Read More: Film Community Pays Tribute to Albert Maysles
Maysles wasn’t around to celebrate when “In Transit” won a special mention in the documentary feature category at Tribeca, but more important to Rebekah Maysles was her father’s reaction to seeing the finished film. “He loved it,” she said.
“In Transit” opens Friday, June 23 at the Metrograph and Maysles Documentary Center.
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related stories'Documentary Now!': The Secrets to Recreating Film History the Right WayDaily Reads: How Hollywood Disrespects Respect Melissa McCarthy's Success, 'Unbreakable Kimmy Schmidt's' Post-Identity Comedy Utopia, and MoreMetrograph and Criterion Team Up to Bring You Criterion Live! With D.A. Pennebaker...
- 6/23/2017
- by Graham Winfrey
- Indiewire
For those who believe that death represents a journey from one plane of existence to another, it will seem apropos that the final feature directed by the late and legendary documentary filmmaker Albert Maysles, made when he was nearly 90 years old, takes place entirely on a cross-country train. In Transit, on which Maysles collaborated with four other directors, can’t compare to the pioneering Direct Cinema docs he made with his brother, David (who died in 1987)—such classics as Salesman (1969), Gimme Shelter (1970), and Grey Gardens (1975). But it’s very much of a piece with Maysles’ lifelong commitment to capturing reality on the fly, offering a vivid cross-section of regular folks who all happen to be aboard the Empire Builder, an Amtrak train that makes a three-day journey between Chicago and the Pacific Northwest. The film’s ideal audience is people who, riding public transportation, would ...
- 6/21/2017
- by Mike D'Angelo
- avclub.com
Wagon Tracks
Blu-ray
Olive Films
1919 / B&W / 1:33 Silent Ap / 64 min. / Street Date January 24, 2017 / available through the Olive Films website / 29.98
Starring William S. Hart, Jane Novak, Robert McKim, Lloyd Bacon, Leo Pierson, Bert Sprotte, Charles Arling.
Cinematography: Joseph H. August
Art direction: Thomas A. Brierley
Titles: Irvin J. Martin
Written by: C. Gardner Sullivan
Produced by: William S. Hart, Thomas H. Ince
Directed by: Lambert Hillyer
Last year we were gifted with an excellent Blu-ray of a silent John Ford western, 3 Bad Men, which turned out to be a satisfying sentimental action tale. This month we get a much older silent western that’s almost as interesting. Its star is William S. Hart, the silent icon most of know through a still of a man in a ten-gallon hat brandishing two pistols in a barroom. Hart frequently played gunslingers, but not always. Olive’s presentation of Wagon Tracks sees him...
Blu-ray
Olive Films
1919 / B&W / 1:33 Silent Ap / 64 min. / Street Date January 24, 2017 / available through the Olive Films website / 29.98
Starring William S. Hart, Jane Novak, Robert McKim, Lloyd Bacon, Leo Pierson, Bert Sprotte, Charles Arling.
Cinematography: Joseph H. August
Art direction: Thomas A. Brierley
Titles: Irvin J. Martin
Written by: C. Gardner Sullivan
Produced by: William S. Hart, Thomas H. Ince
Directed by: Lambert Hillyer
Last year we were gifted with an excellent Blu-ray of a silent John Ford western, 3 Bad Men, which turned out to be a satisfying sentimental action tale. This month we get a much older silent western that’s almost as interesting. Its star is William S. Hart, the silent icon most of know through a still of a man in a ten-gallon hat brandishing two pistols in a barroom. Hart frequently played gunslingers, but not always. Olive’s presentation of Wagon Tracks sees him...
- 1/24/2017
- by Glenn Erickson
- Trailers from Hell
Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we look at the final work of Albert Maysles, In Transit.
Last week we looked at Chantal Akerman's final film, and this week completely by accident I am reviewing another final film by another towering name in documentary filmmaking. In a career that includes Grey Gardens, Salesman, Gimme Shelter, and Monterey Pop, Albert Maysles has made many films that are considered among the greatest non-fiction titles ever made. And while last year’s glimpse into the life of aging fashion icon Iris Apfel, Iris, was billed as his last work, it is in fact this deeply searching piece of cinema verite made in collaboration with Lynn True, David Usui, Nelson Walker III, and Benjamin Wu that is his last work and an incredibly fitting one, too. It’s the...
Last week we looked at Chantal Akerman's final film, and this week completely by accident I am reviewing another final film by another towering name in documentary filmmaking. In a career that includes Grey Gardens, Salesman, Gimme Shelter, and Monterey Pop, Albert Maysles has made many films that are considered among the greatest non-fiction titles ever made. And while last year’s glimpse into the life of aging fashion icon Iris Apfel, Iris, was billed as his last work, it is in fact this deeply searching piece of cinema verite made in collaboration with Lynn True, David Usui, Nelson Walker III, and Benjamin Wu that is his last work and an incredibly fitting one, too. It’s the...
- 6/7/2016
- by Glenn Dunks
- FilmExperience
Piff 39: Five Films Criterion Collection Fans Should See at the Portland International Film Festival
Tomorrow night, the Northwest Film Center kicks off their 39th annual Portland International Film Festival. They’ll be screening Klaus Härö’s The Fencer as the opening night film (unfortunately the screenings are sold out, but there will be an additional showing on Sunday the 14th). Over the course of the next sixteen days there will be over 90 feature films shown around town at various theaters.
This is one of my favorite festivals that I’ve had the privilege of attending, and I cannot wait to see a some of the films that they have programmed.
As usual, we here at the site will be covering a number of the films throughout the festival, but I wanted to make sure that any local Criterion Collection fans were alerted to some of the treats that we have in store. While there are many films at the festival that will align with...
This is one of my favorite festivals that I’ve had the privilege of attending, and I cannot wait to see a some of the films that they have programmed.
As usual, we here at the site will be covering a number of the films throughout the festival, but I wanted to make sure that any local Criterion Collection fans were alerted to some of the treats that we have in store. While there are many films at the festival that will align with...
- 2/11/2016
- by Ryan Gallagher
- CriterionCast
You’re forgiven if you didn’t know much about the Denver Film Festival. Nevertheless, there’s a lot to talk about in the aftermath of the ten day affair. Highlights included very interesting industry panels (a new addition this year), a few films slated for a wide release, and a local debut for a major Colorado-produced film, The Boat Builder. In a state where most of the money for films was recently devoured by Tarantino’s The Hateful Eight, it was nice to see a Colorado-made film get a warm reception.
I wasn’t able to finagle my way into every film I wanted to; such is the tragedy of any festival. But, I was able to see a variety of films big and small and elbow my way into a few industry panels. Below are brief reviews of every film I saw, from the incredible — to the barely edible.
I wasn’t able to finagle my way into every film I wanted to; such is the tragedy of any festival. But, I was able to see a variety of films big and small and elbow my way into a few industry panels. Below are brief reviews of every film I saw, from the incredible — to the barely edible.
- 11/27/2015
- by Max
- SoundOnSight
Read More: Whipsmart 'Unexpected' Is a Modern Response to 'Baby Boom' Indiewire's Springboard column profiles up-and-comers in the film industry worthy of your attention. Kris Swanberg is by no means new to independent filmmaking, but the well-regarded multi-hyphenate is just starting to break through when it comes to her directorial career. Swanberg has filled a number of roles across the years -- given her occasional acting turns, somewhat literally -- and has spent the last decade writing and producing features, often alongside her husband, Joe Swanberg (recently, she wrote her husband's "Marriage Material," in addition to producing her own "It Was Great, But I Was Ready to Come Home" and appearing in "Happy Christmas"). Swanberg has previously directed a pair of features, 2009's "It Was Great, But I Was Ready to Come Home" and 2012's "Empire Builder" (which both Joe and their son Jude starred in), but Swanberg's newest...
- 7/24/2015
- by Kate Erbland
- Indiewire
Pregnancy forces Cobie Smulders to re-evaluate her life in a trailer for Unexpected.
The Avengers: Age of Ultron actress portrays a teacher whose surprise pregnancy leads her to question her future as both a mother and a teacher.
High school teacher Samantha Abbott (Smulders) is helped through her pregnancy by developing a bond with student Jasmine (Gail Bean), who is also expecting a baby.
The drama also stars Downton Abbey's Elizabeth McGovern as Samantha's mother, while Anders Holm is the teacher's husband.
Unexpected comes from Empire Builder director Kris Swanberg.
A cinema release is planned in the Us for July 24. A UK release is yet to be set.
The Avengers: Age of Ultron actress portrays a teacher whose surprise pregnancy leads her to question her future as both a mother and a teacher.
High school teacher Samantha Abbott (Smulders) is helped through her pregnancy by developing a bond with student Jasmine (Gail Bean), who is also expecting a baby.
The drama also stars Downton Abbey's Elizabeth McGovern as Samantha's mother, while Anders Holm is the teacher's husband.
Unexpected comes from Empire Builder director Kris Swanberg.
A cinema release is planned in the Us for July 24. A UK release is yet to be set.
- 5/21/2015
- Digital Spy
Chicago – Even if “Ain’t Them Bodies Saints” hadn’t premiered this year, snagging two Sundance awards in the process, 2013 would still be considered a landmark year for David Lowery.
He brought an arresting poetry to Shane Carruth’s “Upstream Color” and Amy Seimetz’s “Sun Don’t Shine” through his hypnotic, artfully nuanced ending. Now one of indie cinema’s most indispensable collaborators has helmed a major, star-studded feature of his own.
“Saints” unfolds in a melancholic haze, as an escaped Texas outlaw, Bob (Casey Affleck), struggles to reunite with his estranged love, Ruth (Rooney Mara), and their young daughter. Ben Foster steals scenes as a compassionate police officer who falls for Ruth, while Keith Carradine exudes animalistic force as Ruth’s father, hellbent on ensuring that Bob keeps as far away from his daughter as possible. The duet forged by Bradford Young’s gorgeous cinematography and Daniel Hart...
He brought an arresting poetry to Shane Carruth’s “Upstream Color” and Amy Seimetz’s “Sun Don’t Shine” through his hypnotic, artfully nuanced ending. Now one of indie cinema’s most indispensable collaborators has helmed a major, star-studded feature of his own.
“Saints” unfolds in a melancholic haze, as an escaped Texas outlaw, Bob (Casey Affleck), struggles to reunite with his estranged love, Ruth (Rooney Mara), and their young daughter. Ben Foster steals scenes as a compassionate police officer who falls for Ruth, while Keith Carradine exudes animalistic force as Ruth’s father, hellbent on ensuring that Bob keeps as far away from his daughter as possible. The duet forged by Bradford Young’s gorgeous cinematography and Daniel Hart...
- 8/27/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Here at Dread Central we can never get too much horror, and the good folks over at Rhodesclosed Productions and Willow Road Entertainment are ready to deliver a one, two punch of terror!
In 2013 they'll be producing both the horror anthology I Scream You Scream and the slasher flick Released.
I Scream You Scream is a modern day throwback to The Twilight Zone: The Movie and Creepshow, with a darker and original twist. The producers promise fright with the upcoming anthology as well as a new spin on the genre. The producers will be attaching seven to eight directors in the fall of 2012. Directors that are currently attached include Jack Perez (director of Mega Shark vs. Giant Octopus and Some Guy Who Kills People), Spencer Parsons (director of Saturday Morning Massacre), Kris Swanberg (Empire Builder), and Frank Ross (director of Audrey the Trainwreck and Tiger Tail in Blue). Brian Levin...
In 2013 they'll be producing both the horror anthology I Scream You Scream and the slasher flick Released.
I Scream You Scream is a modern day throwback to The Twilight Zone: The Movie and Creepshow, with a darker and original twist. The producers promise fright with the upcoming anthology as well as a new spin on the genre. The producers will be attaching seven to eight directors in the fall of 2012. Directors that are currently attached include Jack Perez (director of Mega Shark vs. Giant Octopus and Some Guy Who Kills People), Spencer Parsons (director of Saturday Morning Massacre), Kris Swanberg (Empire Builder), and Frank Ross (director of Audrey the Trainwreck and Tiger Tail in Blue). Brian Levin...
- 11/16/2012
- by Uncle Creepy
- DreadCentral.com
Chicago – HollywoodChicago.com writer Matt Fagerholm will chat about the latest independent films on Vocalo 89.5Fm from 9:30am to 10am on Friday, October 26th. Topics will include Tom Tykwer, Andy and Lana Wachowski’s hugely ambitious adaptation of David Mitchell’s acclaimed 2004 novel, “Cloud Atlas,” which opens in theaters on Friday, October 26th.
This is the second installment of Vocalo’s Indie Outlook series featuring Fagerholm, who created the independent film blog, Indie Outlook, this past summer. The site recently provided coverage of the Chicago International Film Festival with three in-depth interviews. Chicago’s own Kris Swanberg (“Kissing on the Mouth”) discussed her subtly eerie drama, “Empire Builder,” while Leslie Zemeckis (wife of Robert) chatted about her documentary, “Bound by Flesh,” which chronicled the lives of conjoined twins Daisy and Violet Hilton.
Director Brad Lichtenstein also discussed his Wisconsin-set documentary, “As Goes Janesville,” which follows the titular town’s...
This is the second installment of Vocalo’s Indie Outlook series featuring Fagerholm, who created the independent film blog, Indie Outlook, this past summer. The site recently provided coverage of the Chicago International Film Festival with three in-depth interviews. Chicago’s own Kris Swanberg (“Kissing on the Mouth”) discussed her subtly eerie drama, “Empire Builder,” while Leslie Zemeckis (wife of Robert) chatted about her documentary, “Bound by Flesh,” which chronicled the lives of conjoined twins Daisy and Violet Hilton.
Director Brad Lichtenstein also discussed his Wisconsin-set documentary, “As Goes Janesville,” which follows the titular town’s...
- 10/25/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – In its final days, the 48th Annual Chicago International Film Festival is poised to close with a glorious bang. Chicago native Robert Zemeckis (of “Back to the Future” and “Forrest Gump” fame) will return to the festival for the closing night screening of “Flight,” a thriller starring Denzel Washington. It’s Zemeckis’s first live-action feature since 2000’s “Cast Away.” Here are the highlights covering the remaining days of the festival, from October 18th to October 25th, 2012.
Zemeckis isn’t the only exciting guest scheduled to attend the festival in the days ahead. David O. Russell (“Three Kings,” “The Fighter”) will be on hand for the October 23rd screening of his widely celebrated dramedy, “The Silver Linings Playbook,” which has been singled out as a major awards season player, according to festival buzz. On the heels of his Guillermo del Toro-produced chiller, “The Orphanage,” filmmaker Juan Antonio Bayona...
Zemeckis isn’t the only exciting guest scheduled to attend the festival in the days ahead. David O. Russell (“Three Kings,” “The Fighter”) will be on hand for the October 23rd screening of his widely celebrated dramedy, “The Silver Linings Playbook,” which has been singled out as a major awards season player, according to festival buzz. On the heels of his Guillermo del Toro-produced chiller, “The Orphanage,” filmmaker Juan Antonio Bayona...
- 10/18/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – The 48th Annual Chicago International Film Festival boasts one of the starriest opening nights in its history, with Al Pacino, Christopher Walken, Alan Arkin and Jon Bon Jovi all scheduled to walk the red carpet for the October 11th world premiere of Fisher Stevens’ crime comedy, “Stand Up Guys.” Yet that is far from the only picture worthy of attention at the year’s festival. Here are the highlights of the opening weekend covering October 11th to October 14th, 2012 (stay tuned on the 15th and 18th for more highlights).
Throughout the festival, Hollywood Chicago will be showcasing various films that deserve to not be overlooked. The opening act of this year’s Ciff includes a mind-bending fantasy that caused a sensation at Cannes and a riveting Wisconsin-set documentary that offers an unforgettable microcosm of the financial crisis. Also screening are the latest buzzed-about titles from directors including Romanian auteur Cristian Mungiu (“4 Months,...
Throughout the festival, Hollywood Chicago will be showcasing various films that deserve to not be overlooked. The opening act of this year’s Ciff includes a mind-bending fantasy that caused a sensation at Cannes and a riveting Wisconsin-set documentary that offers an unforgettable microcosm of the financial crisis. Also screening are the latest buzzed-about titles from directors including Romanian auteur Cristian Mungiu (“4 Months,...
- 10/11/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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