The Moviegoer is a local film buff’s diary collecting the best of Chicago’s independent and underground film scene. One of the most exciting programs happening now is Films by Women/Chicago ’74, a festival that is an abbreviated version of a festival that took place 50 years ago at the Film Center of the School of the Art Institute. The festival is now being held at the Film Center, Block Cinema at Northwestern, and Doc Films at the University of Chicago.
This extraordinary series of programming will continue through mid-November. Recently, the author attended three screenings. The first was Michelle Citron’s 1978 film Daughter Rite at the Film Center, where Citron and original festival co-organizer B. Ruby Rich were present. The author also attended a double feature of Dorothy Arzner films at Block Cinema, Craig’s Wife (1936) and Dance, Girl, Dance (1940). The Arzner films were preceded by shorts, including Sharon Hennessey’s What I Want (1971) and Siew-Hwa Beh’s The Stripper (1971).
Craig’s Wife and Dance, Girl, Dance were a perfect match with their features. Craig’s Wife focuses on a woman who values her house more than anything else, while What I Want features Hennessey reading a list of things she desires, many related to women’s rights. The Stripper, a one-minute film, is surreal and confrontational. Before Dance, Girl, Dance, Gunvor Nelson’s Take Off (1972) was shown, which also confronts the male gaze.
The author then transitions to discussing Francis Ford Coppola’s latest film, Megalopolis (2024), praising its originality and ambition. The film explores themes of creation and destruction, similar to King Vidor’s The Fountainhead (1949). Despite acknowledging a certain irony in praising Coppola’s film after discussing empowering women in film, the author appreciates the dedication and creativity shown in Megalopolis.
The article concludes by inviting readers to explore other film reviews, including Rez Ball, Daaaaaalí!, Child Star, A Different Man, and Patrice: The Movie. These reviews offer insights into a variety of films and documentaries, showcasing the diversity and talent present in the film industry. Overall, the author emphasizes the importance of celebrating and empowering women in film while also recognizing the achievements of male filmmakers like Coppola.
