UCLA Festival of Preservation
A rush of restored work via the invaluable archive opens with a 35mm print of Frank Borzage’s aching, monumental 1940 melodrama, “The Mortal Storm,” capturing what happens between friends when fascism takes a nation; L. Q. Jones’ superbly shaggy dog SF classic, the 2024-set post-apocalyptic “A Boy And His Dog” (1975) and Christopher Munch’s immaculate miniature of murmurous desire, “The Hours and Times” (1991).
Screenings throughout November
Sally Potter’s oracular ode to the nonbinary, both poker-faced and fantasticated, with Tilda Swinton in the otherworldly glory of her youth. 35mm.
November 15 & 21
Todd Haynes makes a modern-era true-crime picture on fast turnaround for Participant about the eddying effects of chemical corporation poison released in awards season? Is it Safe?
Opens November 22
Queen and Slim
Propulsive visualist Melina Matsoukas (“Formation”) makes her feature directorial debut in a latter-day outlaw couple saga—”A black Bonnie and Clyde?!”—from a screenplay by Lena Waithe, from a story by Waithe and James Frey. Let it detonate.
Opens November 27
A Beautiful Day in the Neighborhood
Director Marielle Heller (“Diary of a Teenage Girl,” “Can You Ever Forgive Me?”) could make it three terrific pics in a row if she lives up to her description of how she approached the work after the substantial creative and financial success of “Won’t You Be My Neighbor?”: Mister Rogers is the bad guy. What? Say no more.
Opens November 27
Ray Pride is Newcity’s film critic and a contributing editor to Filmmaker magazine.
His multimedia history of Chicago “Ghost Signs” will be published soon. Previews of the project are on Twitter and on Instagram as Ghost Signs Chicago. More photography on Instagram.