Dekalog (Siskel, Saturday, January 21) The only film Stanley Kubrick ever blurbed was Krzysztof Kieslowski’s glorious masterpiece, his oblique adaptation of the Ten Commandments, “Dekalog,” in the form of the published screenplay by Kieslowski and Krzysztof Piesiewicz: “You never see the ideas coming and don’t realize until much later how profoundly they have reached your heart.” Once more, Stanley sees.
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OUT 1 (Siskel, Saturday, January 7)
The film in full: never lost, but seldom seen, Jacques Rivette’s justifiably legendary twelve-hour-fifty-five-minute epic of post-1968 Paris—ambition, conspiracy, performance—is digitally restored, previously seen only via a single 16mm print circulating to world cinémathèques (including a Memorial Day weekend Siskel showing in 2006).
3 Sátántangó
(Siskel, Saturday, January 28)
How can the tempo of experience be expressed in the tempo of film? Hungarian masters Bela Tarr and Agnes Hranitzky’s seven-and-a-half hours along black-and-white wet, wintry roads makes a query.
4 Nobody’s Perfect: Billy Wilder Matinees (Music Box, January-February) Two months of movies from the Austrian-reared comedy writer who has three movies posted to the 2022 Sight & Sound “Greatest Movies Of All Time” poll, entirely in 35mm, including, for January, “The Apartment” (54), “Sunset Blvd.” (78), “Double Indemnity,” “Ball of Fire” and “Ninotchka.”
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.
