Venus and Adonis

Chicago filmmaker Tom Palazzolo turns his lens to film a very different portrait of Vivian Maier, the mysterious Chicago photographer whose work was only discovered posthumously.

Chesterton, Indiana's annual WIZARD OF OZ parade (as well as their many Oz-themed festivities) provides the backdrop for I MARRIED A MUNCHKIN, Tom Palazzolo's study of the life and career of Mary Ellen St. Aubin. Self-described as "normal, but little," Mary Ellen details her early start in show business as a performer in an all-dwarf vaudeville act, her brief appearance in 1946's THREE WISE FOOLS, her 1948 marriage to former Munchkin Parnell St. Aubin and their subsequent retirement from entertainment to run a bar (called the Midget Club) in the South Side of Chicago. Two other former Munchkins (Margaret Pellegrini and Clarence Swensen) briefly appear among the day's revelry. Also included is a postscript (shot some time after the initial film) featuring Mary Ellen briefly describing the original size of her role in THREE WISE FOOLS, which originally featured a line and an ill-fated "flying" effect. - Tom Fritsche

Civil Rights marchers without a permit plan to march into an all-white area. The National Socialist Party plans to stop them.

Tom Palazzolo's rapid-fire, seemingly spontaneous documentary style captures Chicago with pizazz. For more than ten years, Palazzolo has been delivering to us his captured visions – body builders, senior citizens, erotic parlours, weddings, deli owners, and the like – as if he had harnessed them in a cinematic butterfly net. AMERICA'S IN REAL TROUBLE is a patriotic film with music and sound by some of the great unknowns of the past. Lots of overtones, undercurrents, innuendoes, visual similes, counterpoints, puns and contrapuntal movement. Filmed in Chicago, it covers several years of parades and civic events. If you're not moved by this film there's no hope for you.

Chicago was the host for the 1968 Democratic Convention, and the surrounding hype and horror that resulted. Mayor Daley called out the cops on the various protestors and hippies attempting to influence the proceedings, and resulting riot remains a stain on the city's reputation. Palazzolo combines footage of the various youth leaders as well as press comments from candidate Hubert Humphrey and Daley to illustrate the divide between the factions.

The two filmmakers use the style of direct cinema to film the Italian/Polish backyard wedding shower of a young couple, Ricky and Rocky. The pair show off their wedding gifts and guests and relatives express their approval of the shower to the filmmakers.

JERRY'S DELI is a testament to a bygone era when shrieking lunatics could run successful (even popular) businesses. Shot on film-stock leftover from television cameramen, Tom Palazzolo's portrait of Jerry Meyer offsets sequences of the tyrannical deli owner (seen berating his employees and physically dragging customers to the counter) with personal interviews in which a soft-spoken Meyer calmly describes his decorated military service in World War II, his early stand on civil rights and this one time when he stabbed an employee in the arm. - Tom Fritsche

A 14-minute almanac of Midwestern America and its funky Americana at the end of the Love Generation, Love It / Leave It begins with proudly naked people parading about for all the world to ogle at the annual Naked City beauty pageant in Roselawn, Indiana, before returning to Chicago, where families literally draped in American flags are found wilting under the heat of the sun along a downtown parade route.

Surreal film melding documentary footage of Chicago and its residents, featuring fast paced montage sequences set against a rollicking 1960s musical backdrop. The film aptly deconstructs the absurdities of contemporary American life, particularly the thick fog of patriotism engulfing the country at the time.

A fascinating and touching portrait of isolation in big cities, Roger the Dodger features an extended interview with a man who was arrested by the police for loitering near a train station. The man shares his discontent with the local government, and American politics at large. An avowed Marxist, he thinks that carrying a picture of Fidel Castro when arrested probably did not endear him to the police. He discusses his thoughts on loneliness, specifically the ways in which big cities such as Chicago and New York contribute to feelings of isolation, particularly for those who do not enjoy popular pastimes such as sports and rock music.