Screening 35mm & 16mm film prints from studio vaults, film archives, and private collections.

Please be aware of the latest public health guidelines at our partner venues. As of May 18, 2022:

We encourage moviegoers to wear a face mask while indoors, and while interacting with theatre staff. For current details of each screening venue’s public health requirements, please visit the websites of individual venue
s.

  • The Incredible Shrinking Man

    Wednesday, July 6 at 7:30 PM — The Auditorium at NEIU — 3701 W Bryn Mawr Ave
    Tickets: $10 at the door

    July 6 - The Incredible Shrinking Man

    THE INCREDIBLE SHRINKING MAN
    Directed by Jack Arnold • 1957
    One day you’re sunning yourself on the deck of a boat with your beautiful wife, the next day you’re fighting off giant spiders with a sewing pin and hiding in a matchbox. Creature-feature master Jack Arnold’s groundbreaking science fiction classic takes the type of punishment normally reserved for mad scientists and places it squarely on the shoulders of an ordinary man. Grant Williams plays Scott, a nice guy with a nice wife named Louise (Randy Stuart), who lives in a nice house, with a nice cat named Butch (who you may recognize, or not, from Breakfast at Tiffany’s). One day Scott gets randomly gassed by a mysterious passing cloud, and several weeks later he notices his clothes don’t fit so well. A trip to the doctor results in a grim diagnosis, “There’s no medical precedent for what’s happening to you.” Scott is shrinking, and over the course of several months he goes from being a normal guy to living in a dollhouse, cowering from his giant wife (try telling her to grab you a beer now, Scott!), and peddling his sad and unbelievable story to the local media for cash. Don’t worry, it gets much worse–let’s not forget about Butch. Jack Arnold’s influential film would go on to inspire more wonderful shrinking cinema such as Joe Dante’s Innerspace, Joel Schumacher’s The Incredible Shrinking Woman (based on the same Richard Matheson novel), and Joe Johnston’s Honey, I Shrunk the Kids. With the current cinema landscape drowning in mind-numbing CGI, it’s an immeasurable pleasure to view the ingenious, deceptively simple, beautiful optical effects and prop work used to create Scott’s giant new world.  (RL)
    81 min • Universal-International • 35mm from Universal
    Preceded by: “World of Pets: Cats” (National Geographic Films, 1985) – 16mm from Chicago Film Society collections


  • Hell’s Hinges

    Saturday July 9 at 11:30 AM — Music Box Theatre — 3733 N. Southport Ave
    Tickets: $12 at the door or purchase in advance

    July 9 - Hell's Hinges

    HELL’S HINGES
    Directed by Charles Swickard & William S. Hart • 1916
    Westerns of the silent era are often regarded as kiddie stuff, generic action pictures with matinee idols in chaps like Tom Mix, Bronco “Billy” Anderson, and Hoot Gibson. Then there are the Westerns of William S. Hart, a middle-aged moralist of the plains whose films reverberate with a dark evangelical awe. Hell’s Hinges is his masterpiece: a fire-and-brimstone sermon on temptation and degeneration that practically demands a denomination all its own. Hart stars as Blaze Tracy, “a man-killer whose philosophy of life is summed up in the creed ‘Shoot first and do your disputin’ later.’” Tracy maintains an alliance of convenience with the proprietor of Silk Miller’s Palace of Joy, a bordello in Hell’s Hinges, “a devil’s den of iniquity that scorched even the sun-patched soil on which it stood.” It’s the kind of town where a preacher might save a few souls, and so an Eastern priest (Jack Standing) and his aptly named sister Faith (Clara Williams) are dispatched to eradicate sin. But even a man of the cloth is no match for a town yearning for a burning, though Tracy’s liquor-fueled Bible study suggests an unlikely path to salvation. Beautifully photographed by Joseph August and sharply constructed by scenarist C. Gardner Sullivan, Hell’s Hinges plays like a religious tract scrawled in blood on the back of a stagecoach handbill. There is, thankfully, nothing else like it in silent cinema. Preserved by The Museum of Modern Art. (KW)
    64 min • Triangle Distributing Corporation • 35mm from the Museum of Modern Art
    Live musical accompaniment by Dennis Scott
    Preceded by: “The Ruse” (William S. Hart, 1915) – 22 min – 16mm


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Upcoming screenings:

View all upcoming screenings

Wed 7/6 at 7:30 PM @ NEIU
The Incredible Shrinking Man

Sat 7/9 at 11:30 AM @ Music Box
Hell’s Hinges

Wed 7/13 at 7:30 PM @ NEIU
Variety

Mon 7/18 at 7:00 PM @ Music Box
All That Jazz

Wed 7/20 at 7:30 PM @ NEIU
Twister

Wed 7/27 at 7:30 PM @ NEIU
The Ladies Man

Wed 8/1 at 7:00 PM @ Music Box
Menace II Society

Sat 8/6 at 11:30 AM @ Music Box
The Marriage Circle

Wed 8/10 at 7:30 PM @ NEIU
The Green Ray

Wed 8/17 at 7:30 PM @ NEIU
The Criminal Code

Wed 8/24 at 7:30 PM @ NEIU
Livin’ Large!

Wed 8/31 at 7:30 PM @ NEIU
The Trial of Vivienne Ware

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The Chicago Film Society works to promote the exhibition of analog film prints, to preserve the equipment and skills used to create and exhibit them, and to encourage an approach to film history that positions cinema as part of the broader history of technology and society.

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