Chicago Film Archives has restored two remarkable “lost” films that shed new light on an overlooked chapter of Chicago history: the role of gangs in West Side neighborhoods in the 1950s and 1960s, especially the organization known as the Vice Lords and, later, the Conservative Vice Lords. LORD THING in particular qualifies as a major rediscovery, not only for its eye-opening subject matter, but also for its dynamic style--an urgent mosaic of speeches, recollections, on-the-spot footage, and vigorously staged rumbles. Spawned by poverty and police harassment, the Lords eventually turned from destructive street violence to constructive social activism, only to be targeted by the Daley administration as a political and economic threat.DeWitt Beall’s LORD THING (1970) is a film that “begins in the ghetto streets of the mid-Fifties— a virtual combat zone for dozens of small neighborhood gangs from different parts of the city [that in time unite] forces in a common cause.” Only a muddy VHS copy of the film had been circulating until CFA recently discovered 16mm prints in storage and under the care of Beall’s widow. This film won a Silver Medal in the Venice Film Festival.

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该剧是一部情感丰富、故事曲折的电视剧，讲述了老金为了女儿的留学生活，终日捕鱼却换来女儿身中刀离奇身亡的悲剧。这部电视剧通过展现老金、李苗苗和景岚之间的情感纠葛，深刻反映了人性中的善良、勇敢和宽恕。

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《枯叶》延续了考里斯马基一贯的风格，它关注当代欧洲的普通人生活，具有极强的政治性与底层视角，却又将这一切沉重的主题包装在了爱情关系的微观层面，借用人物之间、人物与场景的交互而带来很多寓意，最终以一种复杂的态度来输出观点：带有隐约悲剧性的乐观，保持无法理性自洽的希望。《枯叶》的片长很短，文本内容也并不丰富，甚至只有两个核心人物。多个意象元素在其中贯穿，成为了取代文本层面的主要表达途径。在一定程度上讲，它仿佛是由短片思维所构建起来，唯一的“简单”即是几句话便可说明白的剧情。

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该片不仅呈现了暴风雪夜中的惊悚与刺激，更深刻地揭示了人性的复杂与黑暗。每个人都可能在暴风雪夜中为了自保而展开一场生死较量。

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《雍正王朝》里的老康熙劝慰群臣说，老百姓没有吃的，就要造反；知道历朝历代为什么那么多人造反吗，就是没了生路。想想，中国几千年来的老百姓真可谓命如草芥，也只有到了吃不上饭的时候才会豁出命去反抗。人命关天，也只有在人命快没了的时候才有天大的干系；能吃能走，还有点消遣，甚至潇潇洒洒、恩恩爱爱，此生足矣。足矣？