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Three Questions with a Bears Fan, Episode VIII: The Multifaceted Maciej Kasperowicz

| July 13th, 2020

Maciej Kasperowicz is one of the most interesting people I know. He makes his money in the coffee game. He’s a DJ. He was single-handedly keeping several movie theater chains afloat pre-pandemic. He’s a passionate sports fan. He is also awaiting trial on The People Versus Pearl Jam, where he’ll argue the popular grunge outfit sucks in front of a jury of his peers. If you missed it, here’s Maciej’s guest column on the movies of 2019. And be sure to give him a follow on Twitter, if that’s your thing.


DBB: You are in the rare group of people whose movie opinions I respect and cherish. So I ask you this. Who is the Alfred Hitchcock in Bears history? (I am providing no further explanation for that question. It’s on you now.)

Maciej: Look, there’s an easy answer to this. An undeniable, legendary talent through multiple phases of a long career, but a fucking asshole in real life? It’s Ditka. But I wanted a more interesting, if less direct answer, so I started thinking of Mike Brown staring into the backfield from the secondary like Jimmy Stewart in Rear Window, Singletary bearing down on a ball carrier like the airplane in North by Northwest, the 2018 Bears swarming Jared Goff and his receivers like the birds in The Birds, and Hitchcock’s real time experiment in Rope as a metaphor for that half season of Kordell Stewart (that’s admittedly unfair to both Rope, which I like better than Hitchcock did, and Slash, who at least was an incredibly fun video game quarterback, in different ways).

And then Jay Cutler, fresh off his divorce to a woman whose character on The Hills wasn’t that far from a Hitchcock blonde, started making a crime film on his Instagram stories. Granted, with a line like “Thelma there, while she looks nice and sweet, is a savage with loose morals,” Jay seems to be aiming more for early John Huston than Hitchcock. But who knows where his new art may take him.


DBB: First, what do we laymen coffee drinkers not know about the coffee industry that we should? Second, compare the experiences of a perfect cup of coffee to a exhilarating Bears win.

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Guest Columnist Maciej Kasperowicz: “Movies are Mostly Good” – the Story of 2019 Cinema

| February 6th, 2020

Maciej Kasperowicz is one of the Josie Woods/Chicago Bears east pole crew and while we often do not agree on particular movies (which, like, who cares), his opinions are often inspired. (He’s the only person I can text about Macedonian documentaries.) He sees EVERYTHING and I’m thrilled to share his look at the films of 2019 here today.


Movies are mostly good, okay?

Or I should say that if you’re not forced to watch movies for work (or a crippling desire to have opinions on the Oscars) and do some modicum of research before going the theater or pressing play, the large majority of movies you see will probably be enjoyable. So I was thrilled when my friend Jeff asked me write a few hundred words here about the movies of 2019, many of which I loved and am excited to share with you.

Before we get to that, however, I do believe Jeff would like me to talk a bit about JoJo Rabbit, a movie I don’t like. There exists a world in which I went into JoJo Rabbit before hearing it described (by its own advertising) as an “anti-hate satire,” mildly excited to see a Taika Waititi movie. Afterwards, I might have just thought the humor didn’t work for me (hell, the guy next to me in the theater thought it was hilarious). But “an anti-hate satire?” I hate it. It’s a perfect encapsulation of the worst stereotypes of Hollywood: self-congratulatory, ineffectual, meaningless. It’s a rejection of any political reality for the safest stance you could possibly take. Who wouldn’t be anti-hate? Even Joker, which in many ways I dislike even more, has the guts to be anti-austerity.  

I think Jeff might want me to talk about Richard Jewell too but, man. For a movie about the press dragging someone’s name through the dirt to drag a dead journalist’s name through the dirt, that’s some shit, huh? (It’s also, aside from Sam Rockwell’s normcore conspiracy cargo shorts and I guess the big Kathy Bates speech, an extremely boring movie).

Anyways, most movies are good, and two especially good ones this year were Mati Diop’s Atlantics and Celine Sciamma’s Portrait of a Lady on Fire. I mention them together because they were somehow shot by the same cinematographer, Claire Mathon, in what surely has to be one of my favorite one-two same-year punches for a cinematographer in movie history. It’s especially impressive considering how different the movies look from each other. Atlantics leaves you with ghostly visions of laser-filled beach-side bars in Senegal, while Portrait is full of  painterly French landscapes. They’re both set against the backgrounds of remote oppression (patriarchy in the case of Portrait; global capitalism, and, yes, also patriarchy, in the case of Atlantics) and they’re both beautifully haunted love stories. Atlantics is on Netflix, and Portrait comes back to theaters this month after a brief qualifying run in December. They’re both extremely worth your time.

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