The Chicago International Film festival, North America’s longest-running competitive film festival, is in its 62nd year and has once again turned the Windy City into a sprawling cinema map. More than one hundred titles compete for awards, while the program stretches across a dozen venues, from a downtown AMC multiplex to university auditoriums and cultural museums. The festival’s DNA is rooted in community, a trait that organizers say keeps the event approachable compared with glitz-laden festivals in Cannes or Tribeca.
To experience the full breadth of the festival, visitors hop on the L train to Lincoln Park, where the AMC screens a curated selection of standout works. Adjacent to the theater, the inaugural physical media fair invites collectors to trade DVDs, Blu-rays and even nostalgic VHS tapes—an unexpected nod to analog lovers that has drawn a crowd of dedicated cinephiles. Kartemquin Films’ Ian Robertson Kibbe, representing America’s oldest documentary studio, described the fair as a “pleasant day of people getting excited over DVDs,” highlighting the festival’s inclusive, fan-first attitude.
Neighborhood venues expand the festival’s reach
Artistic program director Mimi Plauche explains that post-COVID strategy focused on decentralising screenings. Partnerships now include the Chicago History Museum, the National Museum of Mexican Art, and the University of Chicago, turning each location into a temporary cinema hall. This citywide model brings films to audiences who might not travel to the traditional downtown core, reinforcing the festival’s reputation for accessibility and communal celebration.
Notable screenings have already highlighted the diverse slate. At the historic Music Box Theatre in Lakeview, Oscar-nominated actress Sophie Okonedo greeted audiences after the premiere of her coming-of-age drama Mouse, noting the “nuanced questions” the crowd raised. Meanwhile, the Lincoln Park AMC hosted a Q&A with documentary duo David and Liani Greaves about their film Once Upon A Time In Harlem, where lawyer Damilola Laguda praised the festival’s “approachable” vibe, contrasting it with the more intimidating atmosphere of Sundance.
International breadth and curated programs
This year’s lineup represents over 60 nations, with Italian auteur Andrea Pallaoro presenting his entire oeuvre, including the latest The Echo Chamber. He described the festival as “a chance to travel the world from theater to theater.” The Black Perspectives segment placed works by Black creators front-and-center; Sterling Macer Jr.’s film Liz Here Now illustrated the curators’ sensitivity to stories that resonate deeply within specific communities.
Beyond the main competition, the festival’s ethos remains grounded in the idea of a shared love for film. Visitors, filmmakers, and volunteers alike speak of a palpable sense of belonging, whether they are swapping vintage tapes or debating the political implications of Ava Duvernay’s documentary 14th, which screened at the University of Chicago. As the event winds down on Sunday, organizers hint at “smart growth” for next year—expanding the number of venues while preserving the intimacy that distinguishes Chicago’s festival from larger, commercial counterparts.
