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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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé