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DTSTART;TZID=America/Chicago:20221202T190000
DTEND;TZID=America/Chicago:20221202T205000
DTSTAMP:20260406T161822
CREATED:20221126T214255Z
LAST-MODIFIED:20221128T062423Z
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SUMMARY:When You Read This Letter at UW Cinematheque
DESCRIPTION:Nightclub dancer Lola (Claude Borelli) stands ready to remove her clothes in front of the rakish Max (Philippe Lemaire)\, who regards her with smug indifference. \nExcerpt from Jason Fuhrman’s review: \nDirector Jean-Pierre Melville’s overlooked existential noir melodrama presents a counterpoint to his more popular crime films and period pieces—such as the underworld comedy of manners\, Bob Le Flambeur (1956)\, the elegant character study of an impossibly cool contract killer\, Le Samouraï (1967)\, and the gripping thriller about the French Resistance\, Army Of Shadows (1969). \nTaken at face value\, the film may appear to lack the cool precision\, calculated restraint\, and mood of contemplative ennui that define Melville’s subsequent output. However\, its atmospheric cinematography\, stylistic complexity\, and haunting ambiguities bring When You Read This Letter (1953) into alignment with the director’s most sophisticated creations. \nFilmed largely on location in Cannes\, France\, with ravishing black-and-white photography by Henri Alekan\, it holds up as a vivid panorama of a bygone time and place. The implausible\, somewhat bizarre plot of the film—which involves con artists\, blackmail\, a sadomasochistic novitiate\, sexual violence\, tragic car accidents\, an unsuccessful suicide attempt\, grand larceny\, and a tangled love triangle—feels surprisingly lurid for what was supposed to be a very “conventional” and “sensible” picture. With its many twists\, turns\, and abrupt tonal shifts\, the narrative sometimes veers toward the surreal.
URL:https://tonemadison.com/event/when-you-read-this-letter-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221203T183000
DTEND;TZID=America/Chicago:20221203T201000
DTSTAMP:20260406T161822
CREATED:20221126T213544Z
LAST-MODIFIED:20221202T033907Z
UID:16383-1670092200-1670098200@tonemadison.com
SUMMARY:After Yang at Union South Marquee
DESCRIPTION:Techno-sapien Yang (right) sets a camera timer to take a photo of his foster family\, then moves into frame with the rest of them (father Jake\, mother Kyra\, and daughter Mika)\, all smiling. \nKogonada retools futuristic technological conventions into a poignant tale of connection in After Yang (2021)\, a filmic tone poem\, a metaphysical chamber play on the virtues of our differences\, between the multicultural and the human and nonhuman. \nBased on a short story by Alexander Weinstein\, the film moves through an unspecified future time when couple Jake and Kyra (Colin Farrell and Jodie Turner-Smith) are raising an adopted Chinese daughter\, Mika “Mei Mei” (Malea Emma Tjandrawidjaja) with the aid of android or “techno-sapien” Yang (Justin H. Min). Yang’s presence as a surrogate sibling to Mika not only offers peace of mind but fosters both a subliminal and plainspoken bond to her heritage. However\, this is momentarily severed when Yang inexplicably shuts down one night\, forcing Jake to repair him and familial unity by extension. \nFrom his background in video essays\, Kogonada lends the film a soft\, appealing precision\, the same that infused the architectural contours and paths of 2017’s low-key masterpiece Columbus. Where that film was mindfully fixated on symmetry\, After Yang is aglow with geomancy or feng shui principles that are conceptualized in the family’s Joseph Eichler house as a grand tea room and literally harmonized in fragmented song (Mitski’s faithful cover of Lily Chou-Chou’s “Glide”) throughout. The off-screen ring of wind chimes and Aska Matsumiya and Ryuichi Sakamoto’s score\, suspended in pianissimo\, further lend the film the feeling of a visual meditation tape. \nAfter Yang meshes memorial themes explored in other sci-fi dramas like Marjorie Prime (2017) and A.I. Artificial Intelligence (2001)\, as it’s perennially attuned to loss and the struggle between despair and hope. Ultimately\, the richly edited tapestry of quotidian\, Malickian moments\, sporadically captured and later witnessed through clips in first-person perspective from Yang’s memory bank\, reveal to the characters their collective strengths and soul—a sort of extension of the Buddhist philosophy on layers of consciousness. \nKudos to WUD Film for providing a space for a belated first-time local theatrical screening. \n—Grant Phipps
URL:https://tonemadison.com/event/after-yang-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T174000
DTEND;TZID=America/Chicago:20221215T145000
DTSTAMP:20260406T161822
CREATED:20221210T204502Z
LAST-MODIFIED:20221214T054148Z
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SUMMARY:White Noise at Marcus Point Cinema
DESCRIPTION:Babette Gladney (Greta Gerwig)\, Jack Gladney (Adam Driver)\, and their three children scream while in their red station wagon. The youngest Wilder (Henry Moore) sits masked between Jack and Babette in the front seat looking amused. \nAs a follow-up to his septupuly Oscar-nominated Marriage Story (2019)\, Noah Baumbach has used approximately $80 million of the money Netflix seems to be hemorrhaging lately to do a “one for me” movie—a project that greatly expands his visual ambitions while addressing the only subject that’s a universal concern for our species burdened with sapience. We are going to die. Yes\, you\, the person reading this\, will die someday. That fact and the various complications we create to avoid confronting it is what White Noise (2022) is more or less about. With such a lofty subject to motivate him\, Baumbach has created something sprawling\, messy and totally fascinating\, his analogue to One From The Heart (1981) or Under The Silver Lake (2018). \nAdapted from Don DeLillo’s ’80s satirical novel of the same name\, White Noise follows Jack Gladney (Adam Driver)\, a college professor who has pioneered the field of “Hitler studies\,” and his wife Babette (Greta Gerwig\, in her first acting role since 2018). They’re accompanied by four children from various previous marriages (including Raffey Cassidy of Vox Lux who plays the eldest)\, as well as Jack’s friend and fellow professor Murray (Don Cheadle)\, who hopes to popularize an academic discipline centered on Elvis Presley similar to Jack’s “Hitler studies.” \nThe group navigates a constant Altmanesque cacophony of unending information\, and naturally gravitates toward the biggest spectacle. It can be reasonably assumed that whatever commands the most attention is most important (Jack makes his living from the well of a historical spectacle that will never run dry\, after all)\, while they’re all firmly entrenched in the certainty that whatever disasters are on TV are removed from anything that could happen to them. Of course they are proven wrong\, and history intrudes on day-to-day life in the form of “The Airborne Toxic Event.” The exact nature of the danger is unclear\, but the mere fact that danger is present is enough to disturb the routine. \nThe plot is somewhat of an exaggeration of themes Baumbach has explored for his whole career\, namely the anxiety of trying to place yourself within society. He expands his palette past the character studies he’s made his name on\, incorporating visual references to Brian De Palma’s films\, to Jean-Luc Godard’s Week-end (1967) and Tout Va Bien (1972). Baumbach even casts Fassbinder regular Barbara Sukowa in a cameo toward the end of the film. \nConsumerism at once creates distraction and meaning\, and Baumbach takes care to include a corporate logo in the frame for most of the film’s running time. This ubiquity of branding culminates in an end-credits sequence scored by a new LCD Soundsystem track written especially for the movie. After all\, once you accept you’re going to die\, you might as well get on with your life.  \n—Lewis Peterson
URL:https://tonemadison.com/event/white-noise-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20221210T183000
DTEND;TZID=America/Chicago:20221210T200500
DTSTAMP:20260406T161822
CREATED:20221202T210909Z
LAST-MODIFIED:20221210T043627Z
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SUMMARY:Tokyo Godfathers at Union South Marquee
DESCRIPTION:Gin\, Miyuki\, and Hana debate what to do next in their quest to return an abandoned child they found on the streets of Tokyo on Christmas Eve. \nSatoshi Kon may be best known for his animated\, surrealistic\, psychological thrillers\, so Tokyo Godfathers (2003) may stand out in writer-director-character designer’s oeuvre as a rollicking buddy adventure that just happens to be Christmas-themed. But it’s quite a natural follow-up to Kon’s postmodernist masterpiece Millennium Actress (2001)\, about a reclusive movie star modeled after the real-life Setsuko Hara (of Yasujirō Ozu’s Tokyo Story). \nTokyo Godfathers boasts a restless pacing and zany energy contained in the dynamic between its trio of drifters—the gruff drunkard Gin (voiced by Tōru Emori)\, boisterous trans woman Hana (Yoshiaki Umegaki)\, and penitent teen runaway Miyuki (Aya Okamoto)—who find an abandoned newborn baby on Christmas Eve and collectively set out to locate her parents based on a mere photograph left at the scene. Through their rag-tag detective work\, the trio uncover truths of their own characters and shortcomings in tragicomic fashion\, realizing they may not be radically different from the struggling parents who saw themselves as incapable of caring for a child. \nWhile something about the film’s developments may feel curbed in its concise 92-minute running time\, Kon’s compellingly larger-than-life staging and beautifully diverse visual flourishes elevate its dramatic rushes through the snowy streets and alleys of Tokyo. Miyuki’s fantastical dream and Hana’s reflective haiku\, in particular\, both offer ruminative respites that showcase the miraculous depths of Kon’s talent that’s deeply missed today. \nWUD Film will be screening the Japanese language version with English subtitles. \n—Grant Phipps
URL:https://tonemadison.com/event/tokyo-godfathers-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221221T190000
DTEND;TZID=America/Chicago:20221221T230000
DTSTAMP:20260406T161822
CREATED:20221216T184246Z
LAST-MODIFIED:20221219T133111Z
UID:16547-1671649200-1671663600@tonemadison.com
SUMMARY:"Or… (night)" Solstice Celebration at Common Sage
DESCRIPTION:A handbill features a negative image of a sprig of sage with all the relevant event information. \nThere’s uncommon hospitality at Common Sage\, Tim Russell and Liz Sexe’s avant-garde-focused but distinctly cozy house venue. The music-dance power duo welcomed friends into their recreation of La Monte Young’s “Dream House” to mark the composer’s October birthday. As Russell and Sexe continue to get back into the swing of more regular hosting\, they’re planning a send-off to 2022 in the form of a winter solstice celebration\, “Or… (night)\,” as a tribute to another boundary-pushing composer\, James Tenney (and to the longest night). \nRussell and Sexe have gathered an inspiring crew of local talent\, including noisemakers Emili Earhart\, David Henry\, and Ari Smith\, to interpret Tenney’s 1970-1971 piece of indeterminacy\, “For Percussion Perhaps\, Or…” While there are a number of recorded performances that elicit the piece’s nuanced drone via prepared hurdy-gurdy\, trombone\, and electronics\, and even solo keyboard (you like Julia Holter\, right?)\, the instrumental configurations for this house show will remain a surprise. \nBeyond that\, most beckoning about this special event is the union of artistic mediums\, with short film projection by Barry Paul Clark and dancers Sexe and Mauriah Donegan Kraker\, who will all add further visual flair through their kinetic chemistry. \nFor those relatively unfamiliar with Tenney’s history\, take it from writer Bradford Bailey\, who asserts that Tenney’s work encompassed “nearly all of the central conceits used by avant-garde composers during the second half of the twentieth century.” Perhaps there’s no better way to find your way in than through the doors of Common Sage. \nPotluck begins at 7 p.m.\, with performances to follow at 8 p.m. And\, if it’s temperate enough outdoors\, Common Sage will start a fire pit in their backyard. \n—Grant Phipps
URL:https://tonemadison.com/event/or-night-solstice-celebration-at-common-sage/
LOCATION:Common Sage\, 934 Drake St\, Madison\, WI\, 53715\, United States
CATEGORIES:Film,Music
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