Whenever I reach the end of any given Chicago International Film Festival, I take a deep breath in…before releasing a long-ass sigh of exhalation. It’s not easy cramming so many titles into a short 12-day span, even for someone who considers “watching movies” as a favorite pastime. By festival’s end, I’m exhausted, but it’s not so much physical as it is emotional. I often feel as if the titles I’ve seen have altered my brain chemistry, seeing the world through someone else’s eyes, experiencing their pain and joy not too different from my own. If movies were an addiction, then CIFF must be my supplier! Here’s a look at the second half of my festival coverage:

A City in the Forest (US)

A David vs. Goliath story that tackles racial injustice, police brutality, environmental concerns, and political corruption. This gripping documentary chronicles Atlanta's controversial "Cop City" project that rose from the chaotic ashes of 2021, and how the weary community resisted through organized protests and petitions, as well as occupying the forest and performing acts of civil disobedience. An extraordinary film that captures the tenacity of community-driven power and the tireless fight for justice, it brought to mind Barbara Kopple’s Harlan County, USA—but for the Gen Z crowd.



A Bit of Light (Iran)

In this moving film, Arash, an Iranian doctor, plans to end his life. Before he does this though, he wants one last day spent with his family, who respond with varying degrees of empathy. With his soul exhausted, he feels as if he's lost all hope, yet finds that there are still people in this world who consider him their only hope. This drama is about how life can be interpreted from countless perspectives and how moments that seem meaningless can help us through the most hopeless of times. It’s no wonder this reminded me so much of It's A Wonderful Life, but with TWICE the despair.

The Diary of a Chambermaid (France)

In this satire about class, Romanian migrant Gianina works as a live-in nanny and housekeeper for a wealthy family in France to support her ailing mother and young daughter. During the day, she spends her hours cleaning surfaces and entertaining the family's young son with sobering Romanian folktales, while at night she rehearses a stage adaptation of Octave Mirbeau's The Diary of a Chambermaid. Art begins to imitate life as Gianina finds herself the pawn of her employer's political conversations while becoming resented by her daughter, who believes her mother cares more about the family she works for than her own. It's a delicately thin line to balance for Gianina, and for the film itself, which highlights the exploitation of the apolitical, obedient servant class under the thumb of the bourgeoisie. 

Once Upon a Time in Harlem (US)

In 1972, William Greaves invited the surviving influencers of the Harlem Renaissance—archivists, musicians, painters, poets—to a party held at Duke Ellington's townhouse in Harlem, filming analytical conversations and personal reflections of an influential period in American history. Only now has this footage seen the light of day, and what it captures is a lively, impassioned debate about the legacy of an era of major cultural change. You wouldn't expect a group of elders arguing over who had the most authority of the Harlem Renaissance to be so visceral (particularly the widow of author Countee Cullen) but these luminaries prove they're as sharp as ever, including a 96-year-old Leigh Whipper (one of the founders of the Negro Actors Guild)! 

The Liberation (US)

What would lead a married mother of two to give up her family and career to join a women's self-empowerment group located in the middle of nowhere? That's the question asked in this psychological thriller (though to be honest, the genre is hard to define) that was inspired by real events. A dynamite Carrie Coon (recipient of this year's Artistic Achievement Award) stars as Rita, a woman who, despite a supportive husband and two bright daughters, can't come to grips with her traumatic past. She finds solace in the warmth and charm of the seductive Ricki (Lily James), who helps women deal with their issues using questionable methods. The suspense is maintained by blending the present (Rita's two daughters make a surprise visit to the commune where she lives) with the past (Rita's escalating relationship with the enigmatic Ricki), and the drama is emphasized with compelling performances from its primarily female cast.

The Man I Love (US)

After an extended stay in the hospital due to an AIDS-related illness, stage actor Jimmy George (Rami Malek), prepares for his next performance, knowing it might possibly be his last. In Ira Sachs' latest character-driven drama, set in late-80s New York, Jimmy is determined to light up the stage once again, with the support of his doting partner, his loving-yet-concerned sister, and a new neighbor who reignites his passions. It's another flamboyant character for the charismatic Malek (who won an Oscar portraying Freddie Mercury in Bohemian Rhapsody) to sink his teeth into, and he delivers a spirited performance that carries an otherwise subdued drama.    

Elsinore (UK)

Another drama about an AIDS-inflicted thespian preparing for his final act, only this one is based on a true story. Andrew Scott (All of Us Strangers) portrays real-life actor Ian Charleson, who after years of trying to shake off his breakout performance in the Oscar-winning Chariots of Fire, lands the role of a lifetime: playing the lead in the prestigious National Theater's production of Hamlet. Unfortunately, he's just been diagnosed with HIV/AIDS, a death sentence for both him and his career. Despite the odds, he seeks the help of the strict but caring Dr. Margaret Johnson (played by the reliably good Olivia Colman) while grappling with a career spent primarily in the closet. Scott's performance is stunning, but he's aptly supported by a great cast and a touching story about mortality and the difference between "life and living." 

Behemoth! (US)

The film's title might be too vague—perhaps The Messy Lives of Cellists would suffice? Anyhow, Pedro Pascal stars as Alex Serian, a man who would certainly qualify as said cellist with a messy life: affairs with unhinged women (Olivia Wilde, who at this point could play “unhinged” in her sleep), tension with his boorish brother (Will Arnett, perfectly cast), and lamenting the women he loved the most (Welcome back, JoBeth WIlliams! Nice to see ya, Eva Victor!). Throw in a mentorship with an aspiring musician and an obsession with a prodigal symphonist, and you've got yourself a de-fanged Tar on a descending interval (that’s a little musical joke for those unfamiliar!). Despite my tepid reaction, I did enjoy the film’s score, which seemingly played during scenes involving the rehearsal of a score for a film-within-the-film!

And that’s a wrap on another year of going around the world in 180 (million or so) frames at the Chicago International Film Festival. See you next year!