BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Tone Madison - ECPv6.15.12.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://tonemadison.com
X-WR-CALDESC:Events for Tone Madison
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20210314T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20211107T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20220313T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20221106T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20230312T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20231105T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221002T200000
DTEND;TZID=America/Chicago:20221002T215000
DTSTAMP:20260403T180856
CREATED:20220923T182400Z
LAST-MODIFIED:20220924T024519Z
UID:15852-1664740800-1664747400@tonemadison.com
SUMMARY:Nosferatu: Phantom Of The Night at Leopold's Books Bar Caffè patio
DESCRIPTION:Count Dracula (Klaus Kinski) looms over the bed of Lucy Harker (Isabelle Adjani)\, putting her under his spell. \nStart spooky season and horror month off right with an outdoor screening of Werner Herzog’s Nosferatu: Phantom Of The Night (1979)\, a stylistic reinterpretation of F. W. Murnau’s silent classic of German Expressionism. It’s also the final film of the season on Leopold’s patio. (For these chilly nights\, bring a blanket.) \nInspired by the Romantic paintings of Caspar David Friedrich\, Murnau’s 1922 film is often regarded as the archetype and the pillar for gothic horror cinema. Rather than attempting to ape that aesthetic\, Herzog leans into his own idiosyncratic proclivities at the height of his prolific era of New German Cinema with an ethereal atmosphere and glowing mysticism. \nBesides the comparative pleasures in the casting and visual composition (including some shot-for-shot translation)\, Phantom Of The Night boasts a raga rock-inflected neoclassical new age score by Popol Vuh. It distinctively envelops the film’s otherworldly Transylvanian universe\, which beckons Jonathan Harker (Bruno Ganz) to close a real estate deal with Count Dracula (a perennially lurking Klaus Kinski\, who adopts more humanistic features than Max Schreck’s original grisly Orlok). \nHerzog lends a progressively macabre sense of humor to the final act’s plague infestation. Consider the group who lavishly dines in the throes of death\, being overtaken by rats. But it’s Doctor Van Helsing (Walter Ladengast) who more soberly attempts to counter the pervasive doom and gloom with a speech on science ushering in a new world\, lifting it out of the literal shadows\, as his rationality clashes against Jonathan’s wife Lucy (Isabelle Adjani)’s superstitious faith. \nIf Murnau was constructing his own language of silent cinema by way of landscape paintings of the 19th century\, Herzog and cinematographer Jörg Schmidt-Reitwein may have borrowed their own from Giorgio de Chirico\, who was also a notable inspiration to Fumito Ueda and Team Ico when rendering one of this century’s most influential adventure games\, Ico (2001). —Grant Phipps
URL:https://tonemadison.com/event/nosferatu-phantom-of-the-night-at-leopolds-books-bar-caffe-patio/
LOCATION:Leopold’s Books Bar Caffè\, 1301 Regent Street\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/09/02125427/nosferatu1979hed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221006T190000
DTEND;TZID=America/Chicago:20221006T204500
DTSTAMP:20260403T180856
CREATED:20220930T201732Z
LAST-MODIFIED:20220930T204446Z
UID:15904-1665082800-1665089100@tonemadison.com
SUMMARY:Television Event at UW Cinematheque
DESCRIPTION:Nicholas Meyer discusses his TV disaster drama “The Day After” in Jeff Daniels’ documentary “Television Event.” \nExcerpt from Maxwell Courtright’s review: Television Event\, the 2020 documentary by Jeff Daniels (not that one) about the making of The Day After\, is a relatively straightforward telling of events\, as Daniels gathers a somewhat random collection of people who made the film happen. The Day After director Nicholas Meyer is the star here\, positioned as the enfant terrible (hot off his directing of 1982’s Star Trek II: The Wrath Of Khan)\, who insisted on defying censors and filming all four hours of the script despite only two making it to the final cut. His devil-may-care attitude drives the idea of the original film as an heroic act\, something necessary that provoked passion in its creators despite their hardship filming it. While censors and restrictive producers feature\, the assumed disapproval of the Reagan administration provides most of the conflict. \nTelevision Event shares the same task with many other historical documentaries: showing its audience that now-common tropes were radical in a different context. But the film arguably goes too far in this direction\, highlighting nothing but the Sisyphean struggle to get this vitally important story to the small screen. Powers that supposedly made it difficult for The Day After to exist in the first place are also among the ones singing its praises in Television Event.
URL:https://tonemadison.com/event/television-event-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/09/02125411/televisionevent-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T190000
DTEND;TZID=America/Chicago:20221007T213000
DTSTAMP:20260403T180856
CREATED:20220930T203158Z
LAST-MODIFIED:20220930T204423Z
UID:15907-1665169200-1665178200@tonemadison.com
SUMMARY:The Day After (with director Nicholas Meyer in person) at UW Cinematheque
DESCRIPTION:A promotional still of the Dahlberg family and their apocalypse stowaway (Steve Guttenberg\, staring at the camera) in “The Day After.” \nExcerpt from Maxwell Courtright’s review: Director Nicholas Meyer appears here in person to introduce his 1983 TV disaster drama\, which features a mix of notable actors of the time (Jason Robards\, JoBeth Williams\, and Steve Guttenberg) and local people cast for maximum Kansas-ness\, certainly has the quality of something conceived more as a “special event” than a true film. Individual plot threads are played for their hyperbolic human drama while still paling in comparison to the completely blown-out existential stakes of nuclear war. \nThe Day After’s exposition sets up tourism ad-like idyllic images of rural Kansas and its everyday inhabitants—from the Dahlberg family preparing for their daughter Denise (Lori Lethin)’s wedding\, to the students and professors at the University Of Kansas. When someone remarks that Kansas City is functionally “in the middle of nowhere” and not at risk of harm from the impending war between the U.S. and Soviets\, John Lithgow’s grad student character responds (with classic Lithgow relish) that “there’s no nowhere anymore.” It’s a line that instills maximum terror in the American viewer-base who’d develop newfound fears of their hometowns no longer being safe from violence. Surely enough\, war does break out\, and the Kansas residents are sheltering\, scavenging\, and developing radiation sickness in short order. While it’s full of drama of the highest order\, there’s a schematic quality about it in the logical playing-out of its horrors being the entire point.
URL:https://tonemadison.com/event/the-day-after-with-director-nicholas-meyer-in-person-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/09/02125411/televisionevent-3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221009T140000
DTEND;TZID=America/Chicago:20221009T153000
DTSTAMP:20260403T180856
CREATED:20220930T204357Z
LAST-MODIFIED:20221001T031226Z
UID:15913-1665324000-1665329400@tonemadison.com
SUMMARY:Stuck at Chazen Museum Of Art
DESCRIPTION:Bloodied and stuck halfway through a car windshield\, Thomas (Stephen Rea) glares at Brandi (Mena Suvari) in the driver’s seat. \nExcerpt from Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art: Driving home drunk and high\, nursing assistant Brandi Boski (Mena Suvari) hits a homeless man\, Thomas Bardo (Stephen Rea). Instead of reporting the accident\, Brandi goes home and parks the car in her garage\, with Thomas stuck halfway through her windshield. The rest of the film is a slow-motion battle of the wits\, as Thomas tries to escape while the increasingly desperate Brandi tries to cover up the crime. \nAlong with Stuart Gordon’s other late-period films King of the Ants (2003) and Edmond (2005)\, Stuck (2007) depicts ordinary people’s capacity for evil. While all these are not exactly horror films\, at times they manage to be more disturbing than Gordon’s genre work due to their real-life settings and grimy\, low-budget feel. Gordon once stated in an interview with Filmmaker Magazine that\, “as you get older you start realizing that real life is scarier than anything you can dream up\, that the things that people actually do to each other are far more bizarre and horrifying than anything that Lovecraft could dream of.” Though Stuck is openly indebted to Misery (1990)\, Gordon portrays Brandi not as a monster\, but as a sympathetic\, albeit self-centered character who is capable of doing monstrous things. Featuring impressive performances from both Suvari and Lea\, Stuck is a potent swan song from a master of suspense.
URL:https://tonemadison.com/event/stuck-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/09/02125410/stuck-filmcap.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T175000
DTEND;TZID=America/Chicago:20221020T135000
DTSTAMP:20260403T180856
CREATED:20221014T214228Z
LAST-MODIFIED:20221018T154121Z
UID:16074-1665769800-1666273800@tonemadison.com
SUMMARY:Stars At Noon at Marcus Point Cinema
DESCRIPTION:Trish Johnson (Margaret Qualley) and Daniel DeHaven (Joe Alwyn) stare at each other longingly. \n“Stars At Noon” is also screening at Marcus Palace Cinema. \nA nascent folie à deux is crushed by the world being significantly more mad than two people can manage in French auteur Claire Denis’ new erotic political thriller Stars At Noon (2022). Based on the 1986 novel by Denis Johnson\, the film transposes the original world-flattening event of the 1984 Nicaraguan revolution to a contemporary Nicaragua just as destabilized by COVID-19.  \nTrish Johnson (Margaret Qualley)\, an American would-be journalist can’t leave the country because a minor official is holding her passport\, forcing her to resort to sex work as a means of survival. She is swept up by Daniel DeHaven (Joe Alwyn)\, an English oil executive who naively assumes that he can go against the tides of global power structures. Each is dependent on the other for more than just sex—Johnson hopes to use DeHaven as a way out of the country and DeHaven gradually learns how little knowledge he has of political machinations. But Central American heat and desperation ensure that the erotic connection is the bedrock of their relationship\, which Denis shoots in her characteristic\, swaying close-ups. \nStars At Noon is Denis’ third feature mostly in English\, and her second to be distributed by A24. Qualley excels as Trish\, portraying a kind of vulnerability mixed with ironic remove (and alcoholism)\, as if the protagonist of a Noah Baumbach New York indie got into some real trouble. Alwyn also brings a scruffy upper-class charm to his role as a would-be white savior who overestimates his own mysteriousness. Though Robert Pattinson was originally cast to play Daniel\, before dropping out for The Batman (2022)\, Alywn more resembles a young Kenneth Branagh or Russell Crowe (Alwyn has also been dating Taylor Swift since 2016\, so Swifties\, you know what you have to do). \nThe delusion of white privilege drives the story forward\, much like Denis’ past White Material (2009)\, just under even more severe scrutiny. Johnson and DeHaven never totally abandon their unspoken belief that their countries of origin will shield them\, even as their situation becomes worse. Their attraction of convenience fuels their belief that going on the run will end well. The title song by frequent Denis collaborators Tindersticks is also worth noting—it’s an authentic-sounding piece of ‘60s Bossa Nova. Johnson and DeHaven share a slow dance in an empty dancehall that perfectly communicates how they view their relationship\, despite all evidence to the contrary: two stars burning so brightly together that they’re visible when they shouldn’t be\, if only anyone was around to look. \n—Lewis Peterson
URL:https://tonemadison.com/event/stars-at-noon-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125335/starsatnoon-hed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221015T190000
DTEND;TZID=America/Chicago:20221015T203000
DTSTAMP:20260403T180856
CREATED:20221007T224754Z
LAST-MODIFIED:20221011T091317Z
UID:16001-1665860400-1665865800@tonemadison.com
SUMMARY:Take Out at UW Cinematheque
DESCRIPTION:Ming Ding (Charles Jang) peddles across a New York City intersection with a Chinese food delivery bag around his left wrist. \nExcerpt from Grant Phipps’ review and interview with co-writer and co-director Sean Baker: \nFor all its constant pressures of time\, chronicling the vicissitudes in a day in the life of a Chinese takeout deliveryman\, Sean Baker and Shih-Ching Tsou’s microbudget masterpiece Take Out (2004) possesses a timeless empathy. \nWith a shoestring budget of $3\,000 that was paid out of pocket\, Baker and Tsou’s film situates itself in an actual working restaurant in NYC’s Manhattan Valley neighborhood\, and maneuvers through the streets and apartment buildings of the Upper West Side with a kinetic velocity comparable to the Danish Dogme 95 films of Lars Von Trier and Thomas Vinterberg\, as well as the Dardenne Brothers’ Rosetta (1999)\, “as if it were shot from the barrel of a gun\,” Kent Jones once wrote of the latter. \nBaker assumes cinematographic duties\, using a MiniDV camera that winds its way into packed kitchen spaces\, stairwell and elevator corners\, as well as the car-crowded\, rain-drenched streets of the city with a comparably gripping urgency and spontaneity. \nThis is something more than a simple narrative; it’s wholly unified documentary and fiction. It’s fragments of an immigrant’s reality as if it were captured by one of deliveryman Ming Ding (Charles Jang)’s coworkers\, like his close friend and confidant Young (Jeng-Hua Yu)\, who understands his present predicament—to repay\, in less than 24 hours\, a debt to a loan shark who aided in his smuggling from China or face the crushing\, recurrent reality of violent retaliation. Young has also struggled to make a life for himself in New York after the same circumstance\, physically distant but emotionally connected to his family on the other side of the world.
URL:https://tonemadison.com/event/take-out-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125352/takeout-still-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221016T140000
DTEND;TZID=America/Chicago:20221016T154500
DTSTAMP:20260403T180856
CREATED:20221007T233433Z
LAST-MODIFIED:20221007T233530Z
UID:16005-1665928800-1665935100@tonemadison.com
SUMMARY:The Pit And The Pendulum at Chazen Museum Of Art
DESCRIPTION:Maria (Rona De Ricci) pleads to the Grand Inquisitor Torquemada (Lance Henriksen). \nFrom Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art: \nThe loosely Edgar Allan Poe-adapted The Pit And The Pendulum (1991) graphically depicts the horrors of the Spanish Inquisition. \n\n\n\nAccused of practicing witchcraft by the Grand Inquisitor Torquemada (Lance Henriksen)\, innocent Maria (Rona De Ricci) and her husband Antonio (Jonathan Fuller) are imprisoned and tortured. Torquemada grows increasingly infatuated with his beautiful captive\, and Maria has to learn magic from kindly witch Esmerelda (Frances Bay\, a David Lynch/Adam Sandler regular) in order to survive. Written by Gordon’s lifelong friend and collaborator Dennis Paoli (who visited the Wisconsin Film Festival this year)\, The Pit And The Pendulum manages to be a well-researched depiction of the Inquisition while also brimming with Gordon’s signature gallows humor. Gordon uses the hypocrisy and fanaticism of the Inquisition as a commentary on the rise of the religious right during the Reagan and Bush years as well as his eternal struggles with the MPAA ratings board. \n\n\n\nThe Pit And The Pendulum was a return to horror for Gordon\, who had spent the previous couple years developing Honey\, I Shrunk The Kids (1989) for Disney before stress-induced health issues led him to drop out as director. The film also reunited Gordon with producer and horror mogul Charles Band\, whose Empire Pictures had produced Gordon’s first four films. While Band is best known for churning out cheap straight-to-VHS junk like Puppet Master (1989)\, he always gave Gordon artistic freedom. The Pit And The Pendulum’s period ambience benefits from being filmed in an actual 15th-century castle owned by Band\, an ingenious cost-cutting method that Gordon would use again for the truly terrifying Castle Freak (1995).
URL:https://tonemadison.com/event/the-pit-and-the-pendulum-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125349/pitpendulum-gordon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221021T190000
DTEND;TZID=America/Chicago:20221021T210000
DTSTAMP:20260403T180856
CREATED:20221014T221014Z
LAST-MODIFIED:20221018T152758Z
UID:16080-1666378800-1666386000@tonemadison.com
SUMMARY:Distant (2002) at UW Cinematheque
DESCRIPTION:Mahmut (Muzaffer Özdemir) sits alone on a bench by the water amidst the desolate\, wintry landscape of modern Istanbul\, while contemplating the Void of existence. \nExcerpt from Jason Fuhrman’s review: \nDistant (2002) unfolds in a seamless succession of long takes that throws into sharp relief the immense divide between the two individuals. However\, Turkish director Nuri Bilge Ceylan’s film also highlights the purposelessness and vacuity of Mahmut and Yusuf’s respective lives. Although they are polar opposites in many ways\, the two men share an inability to communicate their feelings\, the absence of any fulfillment in personal and professional pursuits\, and a deep-seated sense of existential futility.  \n With its elliptical narrative\, psychological acuity\, realistic performances\, and rigorous\, stunning compositions\, Distant masterfully evokes the difficulty of forming meaningful connections in an increasingly alienating modern world. In Cahiers Du Cinéma\, Ceylan states: “My first intention was to make a film on the emptiness of life\, the sensation of the void and uselessness.” While the prospect of watching such a movie might seem bleak and depressing\, the power of Distant derives from the auteur’s exceptional ability to absorb viewers in the fine details of everyday life. \nDistant should be seen in a movie theater to truly appreciate the subtle impact of its pure visual poetry and immersive sound design. Ceylan uses a deceptively simple premise to craft a vividly atmospheric\, richly textured\, and mesmerizing meditation on the human condition. His portrait reveals unexpected depth in existential emptiness\, fleeting beauty in the spiritual wasteland of advanced industrial society\, and elusive\, ineffable truths in the spaces between human beings.
URL:https://tonemadison.com/event/distant-2002-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125331/distantceylan-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221023T140000
DTEND;TZID=America/Chicago:20221023T154500
DTSTAMP:20260403T180856
CREATED:20221014T222129Z
LAST-MODIFIED:20221014T222246Z
UID:16085-1666533600-1666539900@tonemadison.com
SUMMARY:Dagon at Chazen Museum Of Art
DESCRIPTION:Uxía (Macarena Gómez)\, dressed in a gold ceremonial outfit\, brandishes a gold dagger shaped like a spine. \nFrom Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art:  \nCombining two short stories by H.P. Lovecraft\, Dagon (2001) is an atmospheric\, fast-paced piece of gothic horror. After a boating accident off the coast of Spain\, wealthy tech geek Paul Marsh (Ezra Godden) and his girlfriend Bárbara (Raquel Meroño) find themselves stranded in a gloomy\, remote fishing village. They quickly discover the town is populated by half-human fish-people who worship the ancient pagan god Dagon and make masks out of outsiders’ skin. Racing through the rain-soaked streets\, Paul tries to rescue Barbara from being sacrificed to Dagon while fending off murderous villagers and the advances of tentacled temptress Uxía (Macarena Gómez). \nThough slightly marred by the lead actors’ woodenness and some very dated CGI effects\, Dagon is one of Gordon’s most unsettling works. The Spanish coast is a surprisingly good substitute for Lovecraft’s gloomy New England setting\, making Dagon feel more faithful to the writer’s vision than Gordon’s other adaptations. By using all handheld cameras and purposely not subtitling the Spanish cast’s dialogue\, Gordon immerses the viewer into Paul’s panicked point of view\, making the plot’s many twists and turns all the more surprising. As Gordon’s final horror film\, Dagon is an underappreciated entry in his filmography.
URL:https://tonemadison.com/event/dagon-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125331/dagonfilm-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T190000
DTEND;TZID=America/Chicago:20221024T213000
DTSTAMP:20260403T180856
CREATED:20221018T201610Z
LAST-MODIFIED:20221018T204505Z
UID:16129-1666638000-1666647000@tonemadison.com
SUMMARY:No Time To Fail (with post-screening panel) at Arts + Literature Laboratory
DESCRIPTION:After the polls close on November 3\, 2020\, Rhode Island poll workers and Registrar Nick Lima (right) review the voting results printed from DS200 ballot scanners. \nThis is a free event\, but ALL is requesting advance registration. \nTwo weeks ahead of the midterms\, No Time To Fail (2022)\, Sara Archambault and Margo Guernsey’s nail-biting 90-minute chronicle of Rhode Island elections officials’ sticktoitiveness\, finds a vital local premiere at Arts + Literature Laboratory. \nWith lucidity and precision\, Archambault and Guernsey’s lens follows officials among three major Rhode Island cities (Cranston\, Providence\, and Central Falls) in addition to the Department Of State and Board Of Elections\, coordinating and navigating the amassing complications brought on by the pandemic between September and November 2020. Not only have they been tasked with precarious election logistics\, but they are forced to contend with the brunt of public animus and distrust stirred by corporate media and a sitting President who’s borrowing from the neo-fascist playbook to claim unsubstantiated fraud ahead of any officially tallied ballots. \nThe co-directors’ efforts truly shine when they pull back the curtain to reveal the immense devotion and adaptability involved with the people in these positions\, especially Providence Administer of Elections Kathy Placencia and Clerk Of The Board Renay Brooks Omisore\, who put aside their personal lives to ensure that anyone who wants to vote can do so on or before election day. It’s as good a demonstration as any that democracy (with a lowercase “d”) requires active participation and comprehension of the process by tough-minded individuals working at multiple levels. \nFurther\, as Director Of Elections at Secretary Of State’s office Rob Rock puts into perspective\, if this much organization is involved throughout a state like Rhode Island\, imagine it in Wisconsin. We have five times its population and over 14 times as many counties. Not everything will run like clockwork\, and there won’t always be simple answers staring us in the face. It’s a grey reality that a segment of the media and a major political party no longer adheres to—only a delusional narrative devoid of complex solutions and empathy. \nMadisonians may not be the audience who most needs to witness the mechanics of this film\, but the sense of urgency is utterly compelling. Perhaps it’s enough to encourage a conversation with those who’ve been led astray to acknowledge community labor and planning behind the scenes of our government. \nIn a post-screening discussion with co-director Archambault and Dane County Clerk’s Office Elections Management Specialist Rachel Rodriguez\, be sure to ask more about the film’s final statement\, the short- and long-term ramifications of a “mass exodus of election officials from the field.” \n—Grant Phipps
URL:https://tonemadison.com/event/no-time-to-fail-with-post-screening-panel-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125322/notimetofail-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T193000
DTEND;TZID=America/Chicago:20221024T230000
DTSTAMP:20260403T180856
CREATED:20221020T141015Z
LAST-MODIFIED:20221026T192414Z
UID:16155-1666639800-1666652400@tonemadison.com
SUMMARY:Twilight at Majestic
DESCRIPTION:It’s vampire/werewolf season again and the Madison-based Say It Out Loud podcast is warmly inviting devotees (and challenging non-believers) to come out on to enjoy the sillier side of the cult 2008 film Twilight. If you’ve had a pulse on the internet over the past few months\, you may have already seen that we are neck deep in a Twilight Renaissance\, including memes\, Zoom parties and Midnight Sun\, a 2020 companion to the 2005 Twilight novel\, told from Edward Cullen’s perspective.  \nWhether you’re curious about what all the Twilight hype is about (“Bella\, where the hell have you been\, loca?”)\, or looking to revisit the same thrill that you had going to the midnight premiere of Twilight as a youth\, Say It Out Loud hosts Jennalee Emmert and Alyssa Allemand are ready to assist you with their fang-sharp humor and a Twilight-themed drinking game (which will be available to take home after the event to play with friends over and over again). Although actual vampires are not explicitly invited to the screening (Rosalie and Carlisle Cullen can come)\, attendees are encouraged to dress up for the event. \nFeeling inspired to revisit young adult yearnings with a critical mind and a fully formed frontal lobe? Want to satisfy “nostalgia cravings” before this event? Listen back to episodes of the Say It Out Podcast (like episode three\, a two-parter featuring a licensed marriage and family therapist who talks about Edward and Bella’s horrifyingly toxic relationship) on iHeart Radio\, Spotify\, Apple or wherever you listen to podcasts. You can follow along with the pod on Twitter.  \n—Hanna Kohn
URL:https://tonemadison.com/event/twilight-at-majestic/
LOCATION:Majestic Theatre\, 115 King Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125317/twilight_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221028T190000
DTEND;TZID=America/Chicago:20221028T210000
DTSTAMP:20260403T180856
CREATED:20221018T194813Z
LAST-MODIFIED:20221024T221644Z
UID:16125-1666983600-1666990800@tonemadison.com
SUMMARY:Seven Beauties at UW Cinematheque
DESCRIPTION:Dressed in a white suit with slicked back hair\, Pasquilino (Giancarlo Giannini) looks disapprovingly at one of his sisters. She sits on a bed with her other sisters and their mother against an off-white curtain backdrop. \nFew are brave enough to attempt a comedy that’s set in a concentration camp. Famously\, Jerry Lewis failed spectacularly at doing so with The Day The Clown Cried (1972)\, and the result was embarrassing enough that he ordered it sealed away until June of 2024. But where Lewis flopped\, purportedly for trying to portray a character leading children to their deaths as likable\, Italian director Lina Wertmüller succeeds in Seven Beauties (1977) by bringing a European sensibility to a European event\, slowly stripping away any notion of being more than a body trying to survive with the inherently macabre humor of that notion. (Wertmüller was the first woman ever nominated for a Best Director Oscar for this film.) \nThe film follows Pasqualino (Giancarlo Giannini\, in the midst of an extended collaboration with Wertmüller throughout the 1970s)\, who’s nicknamed “Seven Beauties\,” because he’s the only man in a household of sisters and a mother who all fall far short of traditional Western beauty standards. We first see him wandering through the German countryside after deserting the army\, and he soon finds a companion (Piero Di Iorio) to tell the sorry tale of how he ended up there. It involves a botched honor killing\, a stint in an insane asylum\, and eventually escaping confinement to join the Fascist army. \nFlashbacks skip over his stint in the army\, picking up when the deserters have landed in the concentration camp. Inside they meet Pedro (Fernando Rey)\, a political prisoner who holds firm to his convictions\, in contrast to Pasqualino’s guiding philosophy of “I’m ready to do anything to live.” The camp commandant (Shirley Stoler) gives him opportunities to debase himself to prove that statement\, while gradually wearing the expression of a wounded dog. \nThe film’s humor and pathos are akin to the mix of shame and pride of a rock-bottom drinking tale\, tolerable only because the storyteller lived to relay it. This is perhaps Wertmüller’s brilliance—detailing the creep of Fascism into the heart of one not particularly admirable man. It seems absurd when it hasn’t affected them directly\, until it’s too late. With Italy’s extreme right wing nuzzling up to Fascism\, now is a good time to let yourself be confronted by such a story. \n—Lewis Peterson
URL:https://tonemadison.com/event/seven-beauties-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125322/sevenbeauties-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221029T200000
DTEND;TZID=America/Chicago:20221029T230000
DTSTAMP:20260403T180856
CREATED:20221021T165001Z
LAST-MODIFIED:20221021T165001Z
UID:16163-1667073600-1667084400@tonemadison.com
SUMMARY:Claudio Simonetti's Goblin performing Suspiria at Orpheum
DESCRIPTION:From the classic music-box-like opening theme of Dario Argento’s 1977 supernatural horror film Suspiria to its straight-ahead progressive rock tracks to its haunting\, atmospheric scores\, Goblin’s music has become the sound perhaps most associated with Italian horror. The band’s cosmic synthesizer arrangements\, commanding kettle drums and percussion\, and frightening vocals—which almost play a role of their own in Suspiria‘s plot—are unmistakable 45 years later.  \nThe first of The Three Mothers trilogy\, Suspiria follows American dance student Suzy Bannion’s (Jessica Harper) tormented experience as a new student at a prestigious dance academy in Freiburg\, Germany. Upon her arrival\, Suzy sees another student run out of the building\, only to be the victim of a gruesome\, exhibitionistic murder—one of several that occur on school grounds during Suzy’s brief tenure. Goblin’s soundtrack clues in viewers to the fact that darkness lies within the school. The score is a plot point itself\, featuring whispers and chants of “Witch! Witch!”\, foreshadowing Suzy’s own discovery and eventual fate. In addition to the score\, the deep\, vivid red hues present throughout the film play the role of evil living within the school.  \nGoblin has performed under several iterations\, with the latest led by original composer Claudio Simonetti. This 45-year anniversary of Suspiria tour features Simonetti with a live band including guitars\, bass\, and percussion\, performing the soundtrack over a screening of the film. Simonetti’s Goblin will also perform supplementary soundtrack material after the viewing of Suspiria.  \nThere’s also a whole other screening of Suspiria in town this same night. UW Cinematheque will be showing a new digital restoration of the film at 7 p.m. in its Vilas Hall screening room. \n—Emili Earhart
URL:https://tonemadison.com/event/claudio-simonettis-goblin-performing-suspiria-at-orpheum/
LOCATION:Orpheum\, 216 State Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125314/goblinheader.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221030T140000
DTEND;TZID=America/Chicago:20221030T160000
DTSTAMP:20260403T180856
CREATED:20221021T201139Z
LAST-MODIFIED:20221021T201139Z
UID:16166-1667138400-1667145600@tonemadison.com
SUMMARY:From Beyond at Chazen Museum of Art
DESCRIPTION:From Ian Adcock’s feature on UW Cinematheque’s Stuart Gordon series at the Chazen Museum Of Art (which concludes with this screening): \nStuart Gordon’s kinky\, outrageous experiment in body horror\, From Beyond (1986)\, is a fan favorite due to its over-the-top aesthetic. Dr. Edward Pretorius (Ted Sorel) and his assistant Crawford Tillinghast (Jeffrey Combs) have finally perfected the Resonator\, a device that gives humans access to the fifth dimension by stimulating the pineal gland. Unfortunately\, the fifth dimension is full of nightmarish creatures\, and the experiment ends with Pretorius getting his head bitten off and Tillinghast going mad. \nTillinghast is rescued from a mental institution by psychologist Dr. Katherine McMichaels (Barbara Crampton)\, who wants him to recreate the experiments to find out what happened. Along with police escort Bubba Brownlee (Ken Foree of Dawn Of The Dead)\, he returns to the laboratory. When they switch the Resonator back on\, Dr. Pretorius’ head returns from the fifth dimension with a new terrifying body. Transformed into a classically Lovecraftian monster\, Pretorius’ sadistic urges have become a desire for power and human flesh. \nThe excessive pineal stimulation begins to affect our “heroes” as well; Dr. McMichaels becomes drawn to both the Resonator and Pretorius’ bondage gear\, while Crawford sprouts a pineal antenna in his forehead and develops an insatiable hunger for brains. After a bloody escape from the mental institution\, Tillinghast and McMichaels try to overcome their urges to destroy the Resonator before Pretorius becomes all-powerful. \nFilmed quickly reusing the set of Dolls (1986)\, From Beyond is clearly an attempt to one-up Gordon’s breakout debut Re-Animator (1985)\, using another Lovecraft short story as its basis\, and bringing back both Crampton and Combs as the stars. Gordon also had the most difficulty getting the film passed by the MPAA ratings board. Presumably\, it was payback for everything Gordon got away with in his unrated debut. Packed full of gruesome special effects and copious amounts of slime\, it’s one of Gordon’s most popular and enduring films.
URL:https://tonemadison.com/event/from-beyond-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125313/frombeyond_header.jpg
END:VEVENT
END:VCALENDAR