This special screening of CHICAGO SEEN VOLUME 16 is hosted at our Chicago Filmmakers Firehouse Cinema.

Saturday, August 12, at 7:00 PM CST
1326 W Hollywood Ave, Chicago

Chicago Filmmakers is thrilled to present CHICAGO SEEN VOLUME 16, a collection of films from local creatives. We accept free submissions year-round to find the best of the best films that are either by Chicago-based filmmakers or about Chicago, and this accessibility results in a completely diverse program.

Volume 16 of the CHICAGO SEEN series is marked by surrealism, from more mundane situations like an out of bounds golf ball starting an argument to bizarre, experimental pieces that challenge the audience. All films presented are wholly unique, and each one offers a different level of and experience with the uncanny. From film auditions to family dramas to forays around the Windy City, Chicago Filmmakers is proud to present nine engaging and utterly bizarre short films as part of the latest volume in its long-running series.

OOPS, I'VE BEEN DRIVEN MUNDANE by Nick Schoenbrodt

A deeply bizarre film that relies on its stellar sound design and incredibly unnerving atmosphere to drawer the viewer in, OOPS, I'VE BEEN DRIVEN MUNDANE is a claustrophobic bottle episode of a short film that locks its audience in a garage and refuses to let them out until it's said and done. Director Nick Schoenbrodt blends live action with stop motion to draw the viewer into this mostly non-verbal film and, with the help of an effectively deranged performance by Diana Simonzadeh, creates a memorable and insane experience that is wholly unique.

MELENCOLIA 1: THE END OF THE ALPHABET by M. Woods

*From MELENCOLIA 1: THE END OF THE ALPHABET.*

Chicago Filmmakers' own M. Woods uses disorienting editing, uncomfortable sound design, and simultaneously lovely and deteriorating shots to create MELENCOLIA 1: THE END OF THE ALPHABET, a film that is sometimes personal, sometimes enthralling, and oftentimes deeply uncomfortable. As the film's actress navigates beaches, deserts, railroad tracks, and abandoned buildings, Woods's voice, snippets of songs, and the sound of her own footsteps harmonize with the film's visuals and make up an experience that will leave the viewer confused, engaged, and likely disturbed.

*Note from M. Woods: I’ve never shown my work in Chicago, but I work at Chicago Filmmakers. So to be fair I decided to submit my work under the alias Bobby Digital. Luckily I went unnoticed until the final selection round. ;)

ONE NIGHT ON DOVER ST. by Aidan Karstadt

A queasy home invasion thriller made queasier by its greenish color palette, ONE NIGHT ON DOVER ST. is a horror film with a surreal edge. The film aims to be as disorienting as it can be to keep its audience in the shows of its main character, and manages to be effective by relying on building tension with its visuals alone.

TO ALL THOSE by Josh Weissbach

Originally filmed in 2006 and remastered in 2020, TO ALL THOSE is a sort of documentary that takes the audience on a trippy journey through Chicago. Sometimes, the locations are barely legible, other times they're completely unrecognizable. It becomes a sensory experience that challenges the viewer's sight and hearing, and one that can immerse the audience in the way only cinema can.

BOSOM by George Ellzey Jr.

BOSOM is a family drama between two famous sisters following the death of their equally famous mother, and one that does a lot with only eleven minutes. Director George Ellzey Jr. draws an incredible amount of history and emotion out of actresses Kayla Carter and Kellye C. Howard, and the argument between the two—as well as the editing choices that help set the tone at any given moment—make the film a deeply emotional and uncomfortable experience.

AS ONE SOWS, SO SHALL HE REAP by Jejoon Park

AS ONE SOWS, SO SHALL HE REAP is an ethereal, dialogue-less film that follows the bizarre process behind growing a certain plant. The film revels in its dark atmosphere and minimalist sound design—the action is presented with a straightforward tone and nothing is left up to interpretation, which creates a dark, investing experience that works wonders.

EATEN by Andrew Paul Davis

EATEN is a music video for Andrew Paul Davis's song of the same name—it doesn't follow any straightforward narrative, instead trading this in for tons of visual style. The constantly changing sets and costumes form a rapid-fire and fun experience that doesn't overstay its welcome in the slightest, and Davis's vocals invites the audience to relax and just get into the video itself.

CAROLINE by Juli Del Prete

CAROLINE is a film that presents itself as one singular take, following its titular character as she auditions for a role. The most striking element of CAROLINE is how natural it feels with its dialogue and performances—the characters are well-realized to the point where it could be a documentary rather than a work of fiction. Its sense of humor and acting work together to make for a naturally funny experience.

HAVING A NICE DAY by Jesse Rothenberg and Zo Zosack

HAVING A NICE DAY is a delightful comedy of pettiness, and one that—like all the best comedies—manages to balance successful emotion with its humor. As a man tries in vain to propose to his girlfriend, he finds that it's harder than it looks when he chooses to do it near an active golf course, and this makes for the most light-hearted and silly film of the catalogue. With a great script by Jesse Rothenberg and Zo Zosak as well as funny performances by all four cast members, HAVING A NICE DAY manages to be a film that's both heartfelt and a lot of fun.

On Saturday, August 12 at 7PM Central, visit Chicago Filmmakers for CHICAGO SEEN VOLUME 16.

For tickets: www.chicagofilmmakers.org/upcoming-screenings-and-events/

A review by Programming Intern J.S., edits by Marketing Intern Sofia Migaly.

Featured