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By MCN Editor editor@moviecitynews.com

CHICAGO FESTIVAL ANNOUNCES AUDIENCE CHOICE AWARDS

Feature film TRUST and documentary LOUDER THAN A BOMB share 2010 Audience Choice Award

CHICAGO, October 22, 2010 – The 46th Chicago International Film Festival proudly announces the Audience Choice Awards, presented by Buick Regal, and the juried Chicago Award. Audiences received ballots at every public screening during the two-week Festival to rank films on a five-point scale. Votes are tallied and weighted based on attendance so each film has an equal opportunity to win the award.

Audience Choice Award, presented by Buick Regal
LOUDER THAN A BOMB (USA)

Who ever said poetry was boring? Four teams of supremely talented Chicago high school students harness the ecstatic power of words as they prepare to compete in the world’s largest youth poetry slam right here in Chicago. The film also received the Chicago Award, Special Jury Prize. Directors: Greg Jacobs and Jon Siskel

TRUST (USA)
After carefree teenager Anna’s life is shattered by an online sexual predator, her parents (Clive Owen, Catherine Keener) struggle to help her pick up the pieces. As anger and disbelief drive her father’s desire for revenge, Anna is left to contend with her feelings of guilt and shame. Commanding performances by an ensemble cast drive this fiercely honest look at the devastating aftermath of rape. Lilana Liberato was awarded the Festival’s Silver Hugo for Best Actress (photo attached). Director: David Schwimmer

Audience Choice Award – The Human Condition

The Audience Choice Award in our 60-second film competition The Human Condition goes to BOIL, directed by Chicagoan Darren Davidson. BOIL is a comedy about the importance of taking action.
Chicago Award
Designed to honor the best film from the Festival’s Illinois[e]makers program of short, feature, and documentary films, the Chicago Award goes to TONY & JANINA’S AMERICAN WEDDING, a heart-wrenching film that puts a very human face on a current and painful political issue by intimately and expertly telling the story of one family’s American Dream-turned-nightmare as they are torn apart by a flawed U.S. immigration system. Director: Ruth Leitman

The Special Jury Prize goes to LOUDER THAN A BOMB, a meticulously crafted and inspiring film that celebrates with vitality and good spirit a spectrum of American youth—Chicago youth to be exact—at their most creative.

The Chicago Award jury consisted of local filmmakers James Choi, Emily Hart, and Dan Rybicky.

Led by Presenting Partner, Columbia College Chicago, the 46th Chicago International Film Festival’s sponsors to date include: Premiere Partners – American Airlines, Buick; Producing Partners- Stella Artois, DePaul University, AMC Theaters; Major Partners – Allstate, WBBM and theWit as the returning Headquarters Hotel.

ABOUT CINEMA/CHICAGO

Cinema/Chicago is a not-for-profit cultural and educational organization dedicated to encouraging better understanding between cultures and to making a positive contribution to the art form of the moving image. The Chicago International Film Festival is part of the year-round programs presented by Cinema/Chicago, which also include the Summer Gala, the Hugo Television Awards, CineYouth Festival, INTERCOM Competition, International Summer Screenings Program and Education Outreach.

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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