IN PARTNERSHIP WITH FILMSCENE - Bijou Film Board
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
IJOU FILM BOAR
IJOU FILM BOAR
IJOU FILM BOAR
PRING 2021
PRING 2021
IN PARTNERSHIP WITH FILMSCENE
UNIVERSITY OF IOWA’S ALTERNATIVE CINEMA SINCE 1972
PRING 2021
SPRING 2021
01.30 ZOMBI CHILD 5
02.20 DEERSKIN 6
03.13 SAINT FRANCIS 7
04.03 BUOYANCY 8
OUR SERIES 04.24 ONCE UPON A RIVER 9
AFTER HOURS 02.13 MOANA WITH SOUND 11
Late-night series featuring cult classics, recent releases, and modern genre films.
Saturdays at 10pm. 12
03.06 MEEK’S CUTOFF
FILM FORUM 14
03.27 CLEMENTINE
Acclaimed and provocative films followed by panel discussions.
Tuesdays at 6pm.
04.17 THE ALCHEMIST COOKBOOK 16
HORIZONS
02.06 FORCE MAJEURE 18
Stamp your passport for a cinematic world tour!
Attendees eligible to win a $1500 Study Abroad scholarship!
Tuesdays at 6pm. 02.27 MUNYURANGBO 19
OPEN SCREEN: BIJOU SELECTS 03.20 THE CHAMBERMAID 20
Our bi-annual film festival dedicated to showcasing student and local filmmaking.
Submit your shorts! See page 26 for more info about Bijou Selects! 05.01 MOTHER 21
04.10 CHICHINETTE 22
The Bijou Film Board is a non-profit, 02.14 BIJOU VALENTINE’S: 24
student-run organization dedicated to SEXUAL ENCOUNTER GROUP
the exhibition of independent,
foreign, and classic cinema.
Established in 1972, Bijou has built a
reputation as one of the preeminent
student-run cinema organizations in the
nation and, since 2013, has partnered
with FilmScene to assist with the
programming and operation of the
downtown cinema.
More info at bijou.uiowa.edu.
3
JANUARY 30 / 10PM
ZOMBI CHILD
FTER HOUR
(2019, RUSSIA, BERTRAND BONELLO)
How does one contend with their own colonial history? Filmmaker
Betrand Bonello attempts to examine this question with Zombi Child.
Disrupting expected linearity, the film’s temporal dance highlights
a cyclical relationship between the French colonization of Haiti,
exotification of non-Eurocentric ritual, and fascination with using black
bodies and culture for one’s own [Eurocentric] desire. The teen drama
enmeshed within the story gives the viewer something to latch onto, but
can the film do it all? Can the challenge to conventional understandings
be made with only gestures to non-conventional linearity? Does the
presentation of the story wrapped up in Fanny’s perspective and desires
overshadow Melissa’s connection to her own history? Can Bonello
use film to unravel his own questions of French colonialism, or is he
unwittingly promoting a counter-culture fad in the use of Voodoo ritual
for the benefit of Euro-centrality? You will have to watch the film and
decide for yourself.
— Trevon Coleman
4 5
MARCH 13 / 10PM
FEBRUARY 20 / 10PM
DEERSKIN SAINT
FRANCES
(2019, FRANCE, QUENTIN DUPIEUX)
(2019, USA, ALEX THOMPSON)
Home and Friendship: A Reflection on Saint Frances
Oscar-winner Jean Dujardin (The Artist)
stars in this rollicking, absurdist and slightly I grew up in the town of Vernon Hills, IL, a northern suburb of Chicago. 40 minutes
surreal take on the midlife crisis movie. southeast of Vernon Hills lies the town of Evanston, IL. Taking place in this nearby
Georges (Dujardin) drops several thousand town is the story of Saint Frances, a dramedy centering around the friendship of a
euros on an Easy Rider style deerskin jacket, deadbeat nanny and a free-spirited six-year-old girl.
then absconds to a country inn in a sleepy Against the backdrop of an affluent community that I have visited countless times, this
town far away from his wife. There, he starts is a film that reminds me of home. As much as I love Iowa City, I often miss the suburbs
experimenting with a mini-DV camcorder, that I spent my childhood in. Shot on location in Evanston, IL, Saint Frances made me
enlisting the help of an aspiring film editor feel like I returned home for an hour and forty minutes. From the nearby residential
(Portrait of a Lady on Fire’s Adele Haenel) streets, the campus of Northwestern University, and the shores of Lake Michigan, it’s
to assemble a most unusual docufiction- for a postcard of home and childhood memories.
which a certain garment comes to act as an I love stories about unlikely friendships and this film is no exception. Our main
unconventional muse. character, Bridget (Kelly O’Sullivan) is 34 years old, has just had an abortion, and
doesn’t know what she wants to do with her life. She takes the job of nannying Frances
(Ramona Edith Williams) as a summer gig after quitting her past job as a waitress.
While the two have their grievances, they ultimately form a beautiful friendship that
is not presented extravagantly; it’s down to earth and pure. Through Frances, Bridget
can see the simplicities of life and the beauty of caring for a child.
The two elements of home and friendship made Saint Frances stand out from other
films of the last year. It not only brought me joy and lifted my inevitable homesickness,
but also showed how friendship, family, and love can evolve from anybody; even that
of a 34-year-old and a 6-year-old.
— Matthew Huh
s saint f
an ce ra
n
r
f
ce
nt
s s
ces sai
aint franc
fran
es
nt
sa i
int sa
6 7
frances
APRIL 3 / 10PM
BUOYANCY
APRIL 24 / 10PM
(2019, IASTRALUA, RODD RATHJEN)
ONCE UPON A
Buoyancy is a 2019 film that follows 14-year-old Chakra from
RIVER (2019, USA, HAROULA ROSE)
Cambodia who dreams of a better life only to be tricked into modern-
day slavery. The audience follows Chakra’s journey on a Thai fishing
boat where life is violent and at times unbearable. This film highlights
the $6.5 billion Thai fishing industry which continues to profit off
the forced labor of others. Buoyancy delivers a powerful thought-
provoking message through a well-crafted script and beautiful
cinematography.
Based on the best-selling book by Bonnie Jo Campell, Once
— Audrey Honert Upon a River is the story of Native American Margo Crane
in 1970s rural Michigan. After enduring a series of traumas
and tragedies, Margo (newcomer Kenadi DelaCerna)
sets out on an odyssey on the Stark River in search of her
estranged mother. On the water, Margo encounters friends,
foes, wonders, and dangers; navigating life on her own, she
comes to understand her potential, all while healing the
wounds of her past. Written and directed by Haroula Rose.
8 9
FEBRUARY 13 / 10PM
MOANA
ILM FORU
WITH
SOUND
(1926, USA, ROBERT FLAHERTY)
Moana with sound is not the Disney movie.
Instead, this is an interesting piece of semi-
fictional, multi-generational ethnography that
experiments not only with the nature of sync
sound, but the ideas of ethnography. Perhaps
the most fascinating aspect of this film is that
the sound was recorded a generation later, as
the director’s daughter returned to the islands
for what we hear. Although at no point does
Moana burst into song, it’s still a foundational
piece of ethnography that we mustn’t let fall
away into obscurity.
Film Forum has always been about bringing a
level of educated discussion to film, which is
much more exciting and fun than it sounds.
Recently, we figured we could do that in more
ways than just having a panel after the film.
Hence, the Film Forum Book Scholarship.
Just watch our films and you could win $600
towards your books. Pretty neat, right? Now
you can get some help with your education
when you come to our screenings, not just a
fantastic film.
— Calvin Leslie
10 11
MARCH 26 / 6PM
Her 2010 film Meek’s Cutoff was
MEEK’S CUTOFF
(1910, USA, KELLY REICHARDT)
her first foray into the genre. It trades
her earlier film’s focus on individual
relationships for a looser ensemble portrait
creaking of wooden wheels, fireflies, the
sound of footsteps trudging through the
arid landscape characterize the hopelessly
of a group of men and women trudging still desert.
through the Oregon High Desert in
Kelly Reichardt’s West: Masculinity and Revisionism in Meek’s Cutoff 1845. The group is becoming increasingly Though the film is without a
hopeless, as the journey takes longer than clear protagonist, Emily Tetherow is
I have a complicated relationship with the Western genre. Throughout its long expected and they begin to suspect their the standout character. She’s the most
history, tracing back to the earliest days of silent cinema, it has epitomized the guide, the titular Meek is leading them thoughtful member of the group, and the
most insidious aspects of popular American culture: namely, toxic masculinity astray. Instead of painting Meek as a hero only one with the audacity to challenge
and racism. It’s fascinating to see how the genre has morphed throughout its or a villain, the film depicts him in a more Meek for his ineptitudes. Later in their
history. How many other genres encompass films as diverse as John Ford’s human shade of grey.“Is he ignorant or is journey, they capture a lone Native
rugged classical westerns, to the pulpy nihilism of the blood-soaked spaghetti he just plain evil?” asks Emily Tetherow American who they keep as a guide despite
westerns from the 60s and 70s. The latest and best iteration of the genre is the (Michelle Williams) at one point in the their fear of him. Credited simply as “The
“revisionist western.” Films in this subgenre seek to counter (“revise” if you film. He’s not your typical western leading Indian,” Rod Rondeaux’s character exists in
will) the historical revisionism of the early films with a more realistic, critical man, he’s an air-headed fool leading a group the film to be othered and misunderstood
vision of American history. McCabe and Mrs. Miller (Altman, 1971) and Dead of people to probable death. The other men by the group. Emily’s interactions with
Man ( Jarmusch, 1995) are the chief forebearers of this discipline. Independent in the group are vaguely characterized, the character are the most layered. She
director Kelly Reichardt has announced herself as their 21st century successor. and this vagueness is deliberate. Reichardt is initially scared of him like the others,
frequently positions the viewer in the but grows to trust him as the film goes
perspective of the three women who are on. It avoids casting her as a white savior
tagging along for the journey. The shots character, because she continues to fear
of the men talking amongst themselves him and only begins to trust him out of
are often shot from far away, as if you are necessity. The film’s realism in depicting
overhearing a distant conversation. Much the flaws of every character is the ultimate
of the film consists of meditative montages subversion of this traditionally simplistic
of the women doing menial labor. By genre.
conventional logic, this is what makes the
film “slow” or “boring” but it is invigorating I would urge the reader to give
within the context of a western to see a film Meek’s Cutoff a chance. Beneath it’s quiet
that is aware and quietly critical of gender exterior it suggests so many refreshing
dynamics. Not to mention that Reichardt’s ideas about gender, race and realism in the
landscapes (here photographed in the Western genre. Meek’s Cutoff is playing in
academy ratio) are always a beauty to FilmScene’s virtual screening room from
behold. Not enough credit is given to March 6 to March 13, with an attached
her immersive soundscapes. The frequent discussion presented by Bijou Film Forum.
— Harry Westergaard
CLEME
NE NT
EMENTI
INE CLE
C L
ME
N TI N E
12 13
MARCH 27 / 6PM
CLEMENTINE
(2019, USA, LARA GALLAGHER)
A peeled clementine tossed into the lake like an afterthought. A
s’more left to sit forgotten just outside the door to the deck. Scattered
broken glass, as beautiful as it is sharp. The strange and exciting way that
sunlight shines through the trees and lands on the lake house, illuminating
the lives of those who frequent it. These are only a few of the striking images
presented by Lara Jean Gallagher’s Clementine, a film that is kind of a
romance, kind of a mystery, kind of a thriller, kind of a treatise on lesbianism
and the post-#MeToo era, but ultimately something entirely new emerging
from the sum of these parts.
Though it was filmed in pre-pandemic times, Clementine is oddly enough
a perfect encapsulation of the quarantine experience. The two main
characters, Karen and Lana, are perfectly isolated from the outside world
in the remoteness of the lake house at which they both find themselves.
However, just as how the quarantined realities of the past year are rarely so
simple as plain isolation, the isolated lives of Karen and Lana quickly prove
to be far more complicated. Simply put, neither one is supposed to be there.
The house belongs to Karen’s ex, and, still reeling from the breakup, Karen
has broken in uninvited. Soon after her arrival, she runs into Lana, a girl who
seems to be hiding many complicated truths under her easygoing demeanor.
The tension between these two women is the ultimate heart of the film,
taking many different shapes over the course of the story, the line between
calm and unease becoming so blurred that such a distinction between the
two might not even exist. That image of the clementine bobbing in the
lake’s waters really gives as good a sense of the film’s overall atmosphere as
any – the fruit itself is innocuous enough, but one begins to wonder about
what else lies unseen just beneath the water’s surface.
— Gigi Bell
CLEME
NE NT
EMENTI
INE CLE
CL
ME
N TI N E
14 15
H O R I Z O N S
APRIL 17 / 6PM
THE ALCHEMIST
COOKBOOK (2016, USA, JOEL POTRYKUS)
If anything, Joel Potrykus’s The
Alchemist Cookbook is a meditation
on the psychology of isolation and the
good and bad that can arise from it. In
some ways, the life of amateur alchemist
Sean borders on something approaching
serenity. He lives alone in the woods
surrounded by lush scenery with nothing
but his cat Kasper keeping him company.
He collects his own water and fishes in the
nearby lake, only interacting with another
person when his friend Cortez comes
with supplies. However, it is all of these
elements of Sean’s blissfully meditative
experience – alchemy, lake, friend, cat –
that eventually become twisted into new
fears and paranoia as Sean’s experiments
and mental health take a darker turn.
After nearly a year of quarantine, perhaps
some of Sean’s actions and reactions will
seem oddly familiar to us.
— Gigi Bell
16 17
FEBRUARY 6 / 6PM FEBRUARY 27 / 6PM
FORCE MAJEURE
(2014, USA, FRANCE, RUBEN ÖSTLUND)
MUNYURANGABO
(2007, USA, RWANDA, LEE ISAAC CHUNG)
Portrayals of genocide in film tend to focus upon the act itself. Less
common is the aftermath. Experiences of trauma and memory in
the years following a genocide do not as easily lend themselves to
simple narratives with clear beginnings and ends and are often
This wickedly funny and precisely observed overlooked as a result. Yet trauma and memory are the central to
psychodrama tells the story of a model Swedish Munyurangabo. Directed by Lee Isaac Chung in collaboration
family on a skiing holiday in the French Alps. One with Rwandan students Munyurangabo is a simple film. The
morning, when an avalanche suddenly bears down Tutsi Munyurangabo and his Hutu friend Sangwa set off to kill
on a mountainside restaurant the family is dining the man who murdered Munyurangabo’s father in the Rwandan
at, the father makes a selfish decision that causes genocide. While this sounds like the makings of a tale of revenge
rifts in his relationships with his family. This film is it’s not. Rather the film focuses upon how different individuals
presented as part of Bijou’s Horizons series, and is handle memory of such a catastrophe. Munyurangabo recounts
free for University of Iowa students. the genocide describing how he dislikes remembering the genocide
and can’t remember what his father looked like. Sangwa’s mother
discusses the memories of her son from years before he left in
search of work. Sangwa’s father stands in almost as a symbol of
the sinister memories of the time leading up to the genocide. In
some ways the film itself seems to stand as an act of memory. There
are no tidy endings to the aftermath of a genocide and rather than
imposing one on the narrative, Munyurangabo has an ambiguous
ending that more honestly represents real experience.
— Lee Sailor
18 19MARCH 20 / 6PM
THE
MAY 1 / 6PM
MOTHER
CHAMBERMAID
(2018, MEXICO, LILA AVILES)
(2009, KOREA, BONG JOON-HO)
Mother: A Mysterious Reinvention
Last year, South Korean director Bong Joon-ho finally received international
attention with his Best Picture winner, Parasite (2019). Bong’s films are not only
characterized through social themes and tonal shifts, but also as a reinvention of
established film genres. Memories of Murder (2003) reinvents the crime drama,
The Host (2006) reinvents the monster film, and Parasite (2019) reinvents the
dark comedy and thriller.
His 2009 feature, Mother acts as a reinvention of the mystery film while also
A young chambermaid working in one of the most applying his genius use of genre-bending. Even though Mother is undeniably
luxurious hotels in Mexico City enrolls in the a mystery surrounding a mother whose son is accused of murder, it combines
hotel’s adult education program to help improve elements of horror, family drama, and thriller to create something truly unique.
her life. The debut film from director Lila Aviles, No parent wants to see their child locked up and accused of a horrible crime, and
Bijou is proud to present The Chambermaid as part the film shows the power of parental love through mystery. The unnamed mother
of our Horizons slate for this semester. goes to great lengths to prove her son’s innocence, since the son is intellectually
disabled and can’t properly defend himself. She takes on the role of a detective in
any other mystery film, leading to more clues to unravel and discover the truth.
Mother is another perfect example of why Bong Joon-ho is one of my favorite
filmmakers working today. The stories he tells are not only so invigorating and
keep you at the edge of your seat, but he takes classic genres and creates a film
that can only be identified as his own. Bong said that “Once you overcome the
one-inch barrier of subtitles, you will be introduced to so many more amazing
films.” If you loved Parasite as much as I did, Mother is a further steppingstone
ch amberm
the aid
to more amazing films from South Korea.
id — Matthew Huh
a
th
erm
ec
ham
the chamb
bermaid
id
ma
th
ec
e r
b ha
m mb
ha erm
aid the c
20 21APRIL 10 / 6PM
CHICHINETTE: THE
ACCIDENTAL SPY
(2019, HUNGARY, NICOLA HENS)
When one looks at the diminutive stature and worked against gender norms for which show that the events of the past are
of 96-year-old Marthe Cohn, they most the improvement of her country. not too far away, that the places where they
likely are not thinking that she was at one Her actions during the war, occurred still exist. Through these strategies,
time a spy. If they were to hazard a guess, while important, are not the only part Hens manages to show the importance of
most would probably say that she had of the film. Instead, one learns about the past and the way in which it still exists
not in fact spied on Nazi Germany for her life as a whole. They learn about today in the present.
the French government. They would be her family, her first love, and about This documentary shows the amazing life of
mistaken. Chichinette: The Accidental the trials and grief that she had to go Marthe Cohn, with all the courage that goes
Spy is a documentary directed by Nicola through during the war. Some of her along with it, as well as the importance of the
Alice Hens which tells the story of Marthe losses motivated her to fight for France, past even in the present. This is a wonderful
Cohn, a French, Jewish woman who but that depiction did not lessen the story on resilience, the human conidtion,
became a spy during World War II. Her gravity of the situations described. and the importance of fighting for what is
story is also told in her autobiography, Through this, Hens managed to show right, even if one is only seen as a little girl.
Behind Enemy Lines: The True Story of the profundity of the events that
a French Jewish Spy in Nazi Germany. In occurred in France during the second — Kathleen Kenney
this documentary, the past story of Cohn world war while also showing the
is combined with modern shots of France, resilience and strength of Marthe.
Germany, London, LA, and Marthe and This strength and resilience
her husband, Major L. Cohn, as they give can further be seen in the ways in
presentations on Marthe’s life and travel. which Marthe exists now. They show
Marthe is a plucky, 96-year-old her sharing her message to young
woman who jokes and smiles on camera. people that they should be engaged
One cannot help but admire this woman and fight for what’s right. It is clear
who sticks her tongue out at the camera that even when the documentary
but who also worked to help French Jews, is filmed, Marthe maintains her
including her own family, reach the free revolutionary spirit. Her past actions
part of France, before becoming a spy for are brought into the present through
the French government in Germany. She the presentations she gives, the details
speaks on how she was rejected by the she provides, and the questions she
resistance because they only saw her as a anwers. Also, the details of Marthe’s
little girl, but she was much more than history are shown using beautiful,
that. She was courageous and intelligent modern shots of France and Germany
22 23M S
L
FI FEBRUARY 14 / 6PM
W
SEXUAL ENCOUNTER
T
HY
ADUL
GROUP
BIJ O U
(1970, USA, DE RENZY)
O U
Over the course of the past eleven and a half months, our world, as we’ve all come
Y
S to know it, has suffered a tremendous amount of change, devastation, and loss.
I
SH O I NG Between quarantine hobbies and trying to stay as connected as possible with friends
W through our technology, a great number of us have experienced escalated feelings
of isolation and loneliness. The act of being alone isn’t an explicitly negative act,
however when there is a global pandemic in the mix, alone-time is not my preferred
method of spending our lengthy, drawn-out days at home with a seemingly never-
ending cycle of depressing news breaks.
Today we usually think of pornography as something private, experienced Our artificial isolations have also caused sudden upticks in privacy and privatizing
in one’s own home, but during the ‘Golden Age of Porn’ (1969-1984), our personal desires in an age of constant sharing of quotidien activities. The
pornography was most often experienced as a collective. Dozens of people privatization of our desires is something that has been infinitely studied in regard
would sit together in a movie theatre solely dedicated to the exhibition of to sex, sexplotiation film, and pornographic films. Bijou aims, and continues to aim,
XXX and adult films. It’s a rare opportunity to see one on the big screen to screen sexploitation films that best illustrate the intersection of privacy, sex, and
today, but this environment was central to the experience of adult films bodies on screen. As such, in years prior to the pandemic, we have screened various
when they were most popular. While the number of adult movie theatres XXX, and XXX-adjacent, titles that hold decades-old traditions in this industry
has dropped from over 800 in 1979 to fewer than 35 today, Bijou presents accountable for the lack of representation and content that is contorversial, radical,
an adult feature every semester to remind us that this era of film was and and offensive yet still has a discernable hold on film culture at large. We believe
continues to be impactful to film culture. In showing these films, we also that there is value in screening titles like SEXUAL ENCOUNTER GROUP to
aim to explore why they were so popular (we cannot discount the pleasure continue essential conversations regarding topics that may still be viewed as private
in viewing these films) and what it means for us to be entertained by them or taboo such as sexual health, the recounted histories of the pornographic genre,
today. and how this genre has, and continues to, affect marginalized communities.
Though they are campy, fun, and sometimes encourage audience members
to laugh, adult films have a complicated history. Frequently actors were — Maddie Silverstein
brutalized and exploited, and the films themselves are often tinged with
racism, homophobia, misogyny, and transphobia. In presenting these
films, Bijou hopes to not only provide a night to revel in the low-budget
and campy, but also open a conversation around the films themselves and
the social milieu they come from. When watching an adult or XXX film, I
urge audience members to have fun and laugh but also ponder: How is this
film making me feel? How am I being positioned as a spectator? What’s
the relationship between the actors and the camera? How are the actors
relating to one another? How does this film reflect the year this was made?
What has changed since then, what has stayed the same?
— Molly Bagnall, Former Bijou Executive Director
24 25BIJOU BLOG LOVE MOVIES?
Creative and critical movie writing from the Ped Mall to the moon!
Regular features on the Bijou Blog (bijou.uiowa.edu) include reviews, personal
Apply today to join the BIJOU FILM BOARD!
and critical essays, creative work, coverage of the True/False film festival, our Applications online at bijou.uiowa.edu!
Youtube Cine-Club, and more! Open to the public for submissions!
Submit to bijoubloggers@gmail.com using the format:
Submission title / author name + bio / piece (uploaded as a Doc) MEMBERS
BIJOU FILM BOARD
BIJOU BANTER EXECUTIVE BOARD
TREVON COLEMAN (EXECUTIVE DIRECTOR)
The first time I desperately needed to talk about a movie was also the first
HARRY WESTERGAARD (PROGRAMMING DIRECTOR)
disappointment with the nature of cinema. Who could’ve thought that Percy
Jackson would crush my young soul into a burning diamond of rage? My family MANNY MENCHACA (FINANCE DIRECTOR)
was more than happy to hear me complain about what can only be described as MADDIE SILVERSTEIN (MARKETING DIRECTOR)
trash crammed into a projector, however, they soon lost their fervor when I tried to
talk their ear off after every…single…movie. Luckily, the kind people of Bijou have AFTER HOURS
made the mistake of letting me on their podcast so I can talk the whole world’s ear MATTHEW HUH (CHAIR)
off! It’s fortunate that I have co-hosts to force my opinions out of the “This movie AUDREY HONERT
is trash” school of drudgery and into the refined school of “I like Endgame for
ORSON CODD
very legitimate reasons. It’s rad, for one.” Peak criticism, if you ask me. Nothing
will advance your critical viewing skills more than knowing you have to talk about
something for 30 minutes the coming Friday. We (mostly) manage it though, and FILM FORUM
we think it’s a heck of a lot of fun. CALVIN LESLIE (CHAIR)
ALEX ESCALADA
Listen in on iTunes, Spotify, bijou.uiowa.edu, live on KRUI Fridays at 3pm (FM KATHLEEN KENNEY
89.7), or...actually, that’s it. No matter how you listen, it’ll be a blast! WILLIAM ETIENNE
- Calvin Leslie (Film Forum Chair + Banter Host)
HORIZONS
LEE SAILOR (CHAIR)
DANIEL MCGREGOR-HUYER
GIGI BELL
OPEN SCREEN
BIJOU SELECTS EDEN SMITH (CHAIR)
COLLIN RITA
Open Screen is dedicated to promoting short films by University of Iowa students
through our bi-annual film festival, as well as Bijou Selects, which prompts CALENDAR DESIGN
filmmakers to create shorts inspired by or interacting with our screenings. Since ABBEY LAIRD
Bijou’s shift to an all-virtual slate, Open Screen has been able to expand its reach
beyond the university, opening both the festival and Bijou Selects to filmmakers
in the Iowa City community, UI alumni, and college students from across the U.S.
26 27ALL BIJOU EVENTS ARE
FREE
FOR UI STUDENTS
IN PARTNERSHIP WITH FILMSCENE
$7 general admission
at FilmScene’s Chauncey location
(404 E College St, Iowa City, IA)
more info at bijou.uiowa.edu
connect with us @bijoufilm!
01.30 ZOMBI CHILD
02.06 FORCE MAJEURE
02.13 MOANA WITH SOUND
02.20 DEERSKIN
02.27 MUNYURANGBO
02.14 BIJOU VALENTINE’S:
SEXUAL ENCOUNTER GROUP
03.06 MEEK’S CUTOFF
03.13 SAINT FRANCIS
03.20 THE CHAMBERMAID
03.27 CLEMENTINE
04.03 BUOYANCY
04.10 CHICHINETTE
04.17 THE ALCHEMIST COOKBOOK
Individuals with disabilities are
04.24 ONCE UPON A RIVER encouraged to attend all University of
Iowa-sponsored events. If you are a
05.01 MOTHER person with a disability who requires
a reasonable accommodation in order
to participate in this program, please
Submit your shorts! See page 18 contact the Bijou Film Board
for more info about Bijou Selects! in advance @bijoufilm or at
bijouui.executive@gmail.com.
calendar design by Abbey LairdYou can also read
