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DTSTART;TZID=America/Chicago:20221021T190000
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DTSTAMP:20260408T081426
CREATED:20221014T221014Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221023T140000
DTEND;TZID=America/Chicago:20221023T154500
DTSTAMP:20260408T081426
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T190000
DTEND;TZID=America/Chicago:20221024T213000
DTSTAMP:20260408T081426
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T193000
DTEND;TZID=America/Chicago:20221024T230000
DTSTAMP:20260408T081426
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221028T190000
DTEND;TZID=America/Chicago:20221028T210000
DTSTAMP:20260408T081426
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221029T200000
DTEND;TZID=America/Chicago:20221029T230000
DTSTAMP:20260408T081426
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221030T140000
DTEND;TZID=America/Chicago:20221030T160000
DTSTAMP:20260408T081426
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221104T210000
DTEND;TZID=America/Chicago:20221104T231500
DTSTAMP:20260408T081426
CREATED:20221028T204245Z
LAST-MODIFIED:20221028T205256Z
UID:16215-1667595600-1667603700@tonemadison.com
SUMMARY:The Green Knight at Union South Marquee
DESCRIPTION:Sir Gawain (Dev Patel) bows before the titular knight (Ralph Ineson) in the overgrowth of a small chapel\, as golden light spills in. \n“The Green Knight” is also screening at Union South Marquee on November 5 at 6 p.m. \nDavid Lowery’s medieval art house fantasy The Green Knight (2021) asks its viewers to listen deeply to the breaths in between its siren calls as much as it commands observation of its treacherous cinematographic splendor—far beyond the conscious limitations of its sourced Arthurian adaptation. \nIn fact\, Lowery’s contained epic unspools like the From Software version of that centuries-old Celtic tale and visual manifestation of Camelot. With the multi-platform release of runaway hit Elden Ring this past winter\, those links hold even firmer in comparing their open worlds\, the game’s Roundtable Hold\, and the film’s wooded green chapel\, which recalls the many churches strewn about The Lands Between. Like the best moments in the worlds of Hidetaka Miyazaki\, The Green Knight is built on the pretensions of mysticism\, dreaded dreams\, and dark witticisms rather than pointedly dense orations or adherence to conventionally bloated motivations of high fantasy. \nDaniel Hart’s score further evokes memories of the aforementioned game (with compositions by Tsukasa Saito) in the hushed\, dissonant chants reverberating through foggy horizons and off-kilter semitone string phrasings that clash with the percussive snaps and rhythms of internal conflict. The music’s beckoning undulations always drums up those inner demons. So much of the film resides in subconscious life and death\, soaked in the sex and violence of nature—rock\, ash\, water\, vines\, wood\, blood\, cum\, amniotic fluid. The plot dissolves into a headless id\, a flailing man (Dev Patel) in a kingdom of myth. \nOne of the most indelible films of last year. \n—Grant Phipps
URL:https://tonemadison.com/event/the-green-knight-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:20221105T153000
DTEND;TZID=America/Chicago:20221111T124500
DTSTAMP:20260408T081426
CREATED:20221105T200110Z
LAST-MODIFIED:20221108T200216Z
UID:16266-1667662200-1668170700@tonemadison.com
SUMMARY:Armageddon Time at Marcus Point Cinema
DESCRIPTION:Johnny Davis (Jaylin Webb) and Paul Graff (Banks Repeta) both smile while running through a tunnel under a bridge in a park. \n“Armageddon Time” is also screening at Marcus Palace Cinema and AMC Fitchburg 18. \nIn James Gray’s Armageddon Time (2022)\, assimilation comes with the crushing weight of responsibility that can never really be lived up to. Based on Gray’s own adolescence in 1980 New York City\, his semi-fictionalized analogue Paul Graff (Banks Repeta) is a daydreaming\, quietly defiant Jewish sixth grader\, who strikes up a friendship with Johnny Davis (Jaylin Webb)\, a black student repeating the grade. When both are singled out as troublemakers by their teacher Mr. Turkeltaub (Andrew Polk)\, their relationship awakens Paul to his fishbowl of privilege\, as Johnny continually bears a greater brunt of the consequences for their shared schemes. \nPaul is more than a little naive of the true circumstances of Johnny’s problems at home (left to fend for himself most of the time\, living with his grandmother who has dementia). For better or worse\, the film stands as Gray’s admission of guilt for the implications of actions he once didn’t understand. The film’s steady perspective and its lessons are centered more on Paul than Johnny\, who isn’t quite as fleshed out. Gray sticks to what he knows\, even as he acknowledges the pain it caused back then. \nArmageddon Time really excels in showcasing the gap between Paul and Johnny’s family support networks\, however flawed they may be. Paul’s mother Esther (Anne Hathaway)\, father Irving (Jeremy Strong) and especially his grandfather Aaron Rabinowitz (Anthony Hopkins) are exasperated by his artistic dreams\, his inattention in school\, and friendship with Johnny\, often giving him conflicting advice. But they clearly care\, even in their lack of understanding him. \nPaul truly connects with his grandfather who tells him to “be a mensch” and stick up for the less privileged\, while also paying to take him out of the public school to place him in the private school that his older brother Ted (Ryan Sell) attends. There Paul encounters Fred Trump (John Diehl) and Maryanne Trump (Jessica Chastain)\, the latter who gives a speech extolling the virtues of the Reaganite bootstrapping. While Paul’s family hates Reagan\, they sincerely believe his mixing with this crowd of elitists will ensure their survival. To twist the old Carlin adage\, it’s a big club\, and you better try your damndest to get in it. \n—Lewis Peterson
URL:https://tonemadison.com/event/armageddon-time-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221110T190000
DTEND;TZID=America/Chicago:20221110T210000
DTSTAMP:20260408T081426
CREATED:20221104T203338Z
LAST-MODIFIED:20221107T172605Z
UID:16255-1668106800-1668114000@tonemadison.com
SUMMARY:Rimini at UW Cinematheque
DESCRIPTION:At a long shot from a glitzy stage\, singer Richie Bravo (Michael Thomas) leads his dozens of fans in a singalong. \nExcerpt from Maxwell Courtright’s review: \nThe milieu of writer-director Ulrich Seidl’s films provides a unique sandbox for looking at our difficulties in living with modern history. This sort of blank stare towards contemporary pain is nothing new for Seidl\, who continues in this very Austrian vein found in films by Michael Haneke and writers like Thomas Bernhard. Bernhard\, in particular\, seems like a touchstone\, as he shares with Seidl a deep sense of frustration with the Austrian national identity. (Bernhard famously forbade the performance of his plays in Austria following his death in 1989.) Both authors struggle with the post-Holocaust identity of their country\, where they clearly feel they hold a sort of hereditary responsibility for the atrocities of yore. There is no clear path forward.  \nSeidel repeatedly underlines protagonist and lounge singer Richie Bravo (Michael Thomas)’s Trump-like qualities in the film\, from his melting spray tan to the cheap decal self-portraits that decorate his home with thumbs-ups and toothy grins. But Seidl retains some sympathy for this oaf\, as his failures are soft. Bravo is a true buffoon who has inherited a debt he’s not prepared to atone for. He’s on the other side of luck without a family\, relying on outdated music with an ever-declining fan base for his income. For Bravo\, his overheated pop hits of yesterday are the cultural equivalent of a Band-Aid for a deep wound\, and his struggles to create a life for himself in the remote locale of Rimini are reminiscent of a country unsure how to move beyond its past.
URL:https://tonemadison.com/event/rimini-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T204500
DTSTAMP:20260408T081426
CREATED:20221111T200653Z
LAST-MODIFIED:20221111T213703Z
UID:16316-1668711600-1668717900@tonemadison.com
SUMMARY:Light Sleeper at Union South Marquee
DESCRIPTION:John LeTour (Willem Dafoe) is shown writing at a desk in his largely empty apartment at night\, shirtless. There is a tall\, stylized lamp behind him and a wine bottle sitting on the table next to a glass. \n“They figure you can tell a D.D. anything. Things they would never tell anyone else\,” drug dealer John LeTour (Willem Dafoe) narrates in writer-director Paul Schrader’s 1992 film Light Sleeper. The line frames  a scene that features David Spade as one of LeTour’s customers\, sitting in his underwear and going off on an unhinged philosophical rant while snorting cocaine. \nIt’s quite comic but helps draw us into LeTour’s illicit but comfortable world\, illustrating the control he tries to exert over his life as he navigates a range of shady\, unpredictable characters and absorbs the news that his boss (Susan Sarandon) wants to get out of the business. Cinematographer Ed Lachman’s shots of rainy Manhattan streets and half-lit car interiors\, alongside the baritone vocals of Michael Been’s song “World On Fire\,” combine in the film’s powerful opening.  \nThis being a Schrader film\, all his  trademark elements are at work: the lonely male protagonist\, his desperate fixation on a woman (Dana Delany\, as LeTour’s ex Marianne)\, and the mounting sense that the narrative is  bound for a final spasm of violence. Then again\, Roger Ebert wrote at the time of Light Sleeper‘s release: “This movie isn’t about plot\, it’s about a style of life\, and the difficulty of preserving self-respect and playing fair when your income depends on selling people stuff that will make them hate you.”  \nLeTour at once understands the bleak confines of his life but holds out hope for something greater. Even in Dafoe’s remarkable career\, this performance is a standout: tightly wound\, both aloof and deeply needy\, all those edges sharpened to a handsome prime. He makes it pretty alluring to get wrapped up in an existence most of us would not actually want to share. \n—Scott Gordon
URL:https://tonemadison.com/event/light-sleeper-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125228/lightsleeper_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T220000
DTSTAMP:20260408T081426
CREATED:20221111T211004Z
LAST-MODIFIED:20221114T060402Z
UID:16323-1668711600-1668722400@tonemadison.com
SUMMARY:The Plains at UW Cinematheque
DESCRIPTION:A shot from the backseat of Andrew Rakowski’s Hyundai Elantra shows him (right) and director David Easteal in the passenger’s seat (left) shortly after leaving their office park for the day. \nExcerpt from Grant Phipps’ review and interview with director David Easteal: \nDavid Easteal finds a new meditative grammar for the road movie in The Plains (2022)\, a rigorously composed docufiction epic about our habitual commute\, the intimacy of impermanence\, and the subtly direct intermediary of technology. \nIn the casting of himself as a secondary character to the film’s principal traveler (and occasional chauffeur) Andrew Rakowski\, Easteal’s film feels endlessly amidst a journey—treading on business routes and Monash Freeway beyond the suburbs of Melbourne\, Australia\, meandering through the life and times of its quinquagenarian driver over a 12-month period. A fixed static shot in the backseat of Rakowski’s compact Hyundai Elantra frames his world view\, quite literally\, as he peers out at the skyline and his fellow 5 p.m. commuters rolling along between traffic lights and km/h speed limit signs. But it’s the audible space within the car’s interior and Rakowski’s routine that command attention over a nearly three-hour duration\, whether it’s listening to the hum of talk radio (on 93.1 and 105.9 presets) for a minute after turning the ignition\, phoning his longtime wife Cheri or 95-year-old mother Inga at a nursing home (through his earbuds)\, chatting with fellow barrister and firm colleague Easteal\, or simply sitting speechless as the gusting ambiance of the roadway fills the vehicle’s cozy\, confined environs. \nIn its series of plainspoken\, philosophical car conversations\, The Plains shares some commonality with the tradition of Iranian art cinema from the minds of Abbas Kiarostami (Taste Of Cherry\, Ten) or Jafar Panahi (Taxi Tehran). But the film’s earnest virtues align it more closely with the nearly dialogue-free documentary Cousin Jules (1972)\, Dominique Benicheti’s enthralling\, almost devout five-year chronicle of an elderly French couple’s daily agrarian rituals. Easteal reapplies a similar aesthetic to Benicheti’s to construct a film deeply rooted in the customs of contemporary Australia and shifting landscapes like so many other places in the post-industrialized Western world (including Madison).
URL:https://tonemadison.com/event/the-plains-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221118T190000
DTEND;TZID=America/Chicago:20221118T204500
DTSTAMP:20260408T081426
CREATED:20221111T212237Z
LAST-MODIFIED:20221115T180109Z
UID:16324-1668798000-1668804300@tonemadison.com
SUMMARY:All Is Forgiven at UW Cinematheque
DESCRIPTION:Annette (Marie-Christine Friedrich) and her young daughter Pamela (Victoire Rousseau) listen to the piano at a family gathering. \nExcerpt from Alisyn Amant’s review: \nAs Mia Hansen-Løve’s directorial debut\, All Is Forgiven (2007) is the logical birthplace of the cinematic tone that becomes distinct in her later films\, like Bergman Island (2021). She immerses viewers in moments of intense realism with characters Victor\, Annette\, and Pamela in the majority of the 105-minute running time. Take\, for example\, the portrayal of Victor’s addiction: one may expect the archetypal\, gritty\, and raucous scene of a person shooting heroin into their veins or snorting cocaine amidst dancing bodies and loud music. In All Is Forgiven\, the picture of addiction instead becomes a man wandering from park to park to find a dealer\, slipping away from outings with his daughter to run “errands” and waking up to the anticlimactic overdose of a lover. The expository tension between a dependence on drugs and the decay of a family still makes room for the subtle details of life: the sound of shoes on pavement or gravel\, the ripples of water on the surface of a pond\, the rustling of leaves and flowers. \nWhile that pervading sense of reality successfully creates an intelligent\, picturesque aura\, it simultaneously becomes a detriment to the viewer’s ability to connect with its characters as fixtures in a story. Moments that are supposed to be seen as monumental and emotional\, according to the typicality of narrative structure\, fall flat in service to realism. But regardless of one’s preference for the levels of tilt toward realism or romanticism\, All Is Forgiven is nonetheless an admirable debut that showcases the cinematic notions of a then-budding\, now-established director.
URL:https://tonemadison.com/event/all-is-forgiven-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/2022/11/02125218/allisforgiven-hed-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221120T183000
DTEND;TZID=America/Chicago:20221120T203000
DTSTAMP:20260408T081426
CREATED:20221111T213437Z
LAST-MODIFIED:20221111T213437Z
UID:16326-1668969000-1668976200@tonemadison.com
SUMMARY:Sonata (2021) at Union South Marquee
DESCRIPTION:Grzegorz Płonka (Michal Sikorski) plays the piano in his father’s study. \nComing-of-age biopic Sonata (2021) closes out the Polish Film Festival at the Union South Marquee\, which begins on Sunday\, November 13\, with Illusion (2022)\, and then continues the following Sunday\, November 20\, with a triple feature of Fucking Bornholm (2022)\, Black Sheep (2022) and Sonata. \nBartosz Blaschke’s film is based on the true story of Grzegorz Płonka (Michal Sikorski)\, who is misdiagnosed with autism as a child in the mid-1990s\, only to discover at age 14 that he actually suffers from hearing loss that prevented him from processing the upper registers necessary to understand speech. When Grzegorz finally gets fitted with a hearing aid thanks to the insistence of a home caregiver\, he’s set upon a difficult road toward a meaningful life: learning to speak and read in his teens\, and obsessively devoting himself to becoming a concert pianist\, with his ultimate goal to perform Beethoven’s “Moonlight Sonata” (which lends the film its name).  \nThe film uses similar audio effects to Sound Of Metal (2020) in the scene where Grzegorz finally hears clearly for the first time\, allowing the audience to perceive as he does. Previously\, his relationship with music consisted of pounding on a piano to feel the vibrations. Sonata also shares Sound Of Metal‘s more nuanced take on a disability narrative rather than standing as a simple triumph-over-adversity tale: much emphasis is put on Grzegorz’s early life being left to languish due to sheer institutional indifference despite the efforts of his exasperated parents (Małgorzata Foremniak and Lukasz Simlat) to get someone to respond on a human level instead of just enforcing the rules and their own expectations. \nWhen Grzegorz finally speaks\, he often has a frustratingly black-and-white interpretation of social interactions\, and a megalomaniac focus on his life goal of becoming a pianist. At every turn\, he’s met by people who qualify his talent as “playing well for a deaf person.” Grzegorz doesn’t so much want to prove them all wrong as he gets stuck on not fully grasping why someone would want to keep him from fully expressing himself. Understandably\, he lashes out when clashing once again with the harshness of those more concerned with checking boxes than letting him release his pent-up emotions.  \n—Lewis Peterson
URL:https://tonemadison.com/event/sonata-2021-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125222/sonata2021-eventhed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221130T190000
DTEND;TZID=America/Chicago:20221130T201500
DTSTAMP:20260408T081426
CREATED:20221126T225031Z
LAST-MODIFIED:20221126T225209Z
UID:16385-1669834800-1669839300@tonemadison.com
SUMMARY:Mills Folly Microcinema: Seeing Pink\, videos by Ariel Teal at Arts + Literature Laboratory
DESCRIPTION:A still from “Becoming” (2018)\, borrowed from “Buffy The Vampire Slayer\,” of Teal’s favorite character Faith (Eliza Dushku) dancing at a club. \nFilm MFA and former instructor at UW-Milwaukee Ariel Teal\, who now studies social work in Madison\, will appear in person at this Mills Folly Microcinema event. While Teal is bringing three films that have made the rounds at experimental festivals in recent years\, they will also be premiering two new works\, Seeing and Pink Movie. \nTeal’s dual professional backgrounds have had an impact on their work in the exploration of personal trauma channeled through techniques from found footage and essay film. Difficult and direct as their practice may be\, it also has a sort of interior tenderness related to Teal dealing with their own trauma on their own terms. These films aren’t tailor-made for audiences so much as they embody a unique form of therapy to serve as a reminder for others of how their own lives may be fragmented in memory. \nAs on-screen texts in films like Becoming (2018)\, Monday Night (2018)\, and Romantic Getaway (2020) alternate between blunt descriptive statements and cut-up abstractions\, Teal shows a poetic control of their words at the sentence-level. Monday Night particularly highlights this\, with the language revealing entendres as it circles back on itself in fragments. “I hate that I didn’t see it coming” is shortened to “I hate that I\,” which is further simplified to an evocative “I hate.” \nThis trauma-informed cinema breaks with the clichés one might associate with the idea. Teal reads between the lines of the narratives we create for ourselves. Intertextual readings stand out here\, and the filmmaker intuitively understands the way our self-narratives are shaped by our aspirations toward beloved characters and forms (Buffy The Vampire Slayer and sitcom “special episodes” are central to Becoming and Romantic Getaway\, respectively). \nIf the existing work is any indication\, viewers can expect further developments in this direction from Teal’s new shorts that explore intersections of culture and the self with bracing clarity.  \n(Viewer’s note: the program features flashing lights and printed descriptions of sexual assault.) \n—Maxwell Courtright
URL:https://tonemadison.com/event/mills-folly-microcinema-seeing-pink-videos-by-ariel-teal-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/2022/11/02125204/becoming-arielteal.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221202T190000
DTEND;TZID=America/Chicago:20221202T205000
DTSTAMP:20260408T081426
CREATED:20221126T214255Z
LAST-MODIFIED:20221128T062423Z
UID:16384-1670007600-1670014200@tonemadison.com
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221203T183000
DTEND;TZID=America/Chicago:20221203T201000
DTSTAMP:20260408T081426
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125204/afteryang-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T174000
DTEND;TZID=America/Chicago:20221215T145000
DTSTAMP:20260408T081426
CREATED:20221210T204502Z
LAST-MODIFIED:20221214T054148Z
UID:16506-1670694000-1671115800@tonemadison.com
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/12/02125139/whitenoise22-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T183000
DTEND;TZID=America/Chicago:20221210T200500
DTSTAMP:20260408T081426
CREATED:20221202T210909Z
LAST-MODIFIED:20221210T043627Z
UID:16432-1670697000-1670702700@tonemadison.com
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221221T190000
DTEND;TZID=America/Chicago:20221221T230000
DTSTAMP:20260408T081426
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230105T200000
DTEND;TZID=America/Chicago:20230105T233000
DTSTAMP:20260408T081426
CREATED:20230101T214225Z
LAST-MODIFIED:20230101T214647Z
UID:16607-1672948800-1672961400@tonemadison.com
SUMMARY:Sex Ed Disco Dance Party at Crucible
DESCRIPTION:A cropped version of Sruti Mohan and Elliot Jewell’s very late ’70s-designed event flyer with a prominent disco ball and rainbow. \nThe first couple weeks of the new year after the holidays can often feel muted\, introspective\, and distinctively less cheery by comparison. But consider the colorful cure for those midwinter blues at the Crucible’s Sex Ed Disco Dance Party this Thursday night\, which unites a number of Madison creatives in a fundraiser for a new\, vital documentary by videographer and filmmaker Gracie K Wallner. \nSince last year\, Wallner (Winter Is Alive\, Blood Runs Out) has been assembling a work that champions queer and inclusive sex education in our community. Not only have they gathered friends to help spread the word\, including Docx\, French Jessica\, as well as DJs Sarah Akawa\, Avalon\, and Coop there it is\, but also arranged for this event to offer safe sex supplies (courtesy of OutReach LGBTQ+ Community Center)\, paper resources\, themed cookies (confections by Blue Bedroom Records founder Cam Davis)\, and even a runway costume contest. \nWhile the doc is still in production\, it features LGBTQ+ AODA Advocate Linda Lenzke and many other active members specific to the Madison community\, including educators\, therapists\, and historians\, who shed a light on the hidden history\, changing landscape\, and universal need for queer sex education. \nAcknowledging the superlative character of Wallner’s past work\, which has oscillated between narrative and documentary modes\, their current project will undoubtedly carry a similarly sophisticated visual style and conscientious eye. Funds raised at this groovy 18+ danceathon will support all of Wallner’s efforts with interviews\, clearing image copyrights\, and commissioning original artwork. \n—Grant Phipps
URL:https://tonemadison.com/event/sex-ed-disco-dance-party-at-crucible/
LOCATION:Crucible\, 3116 Commercial Avenue\, Madison\, WI\, 53714\, United States
CATEGORIES:Culture,Film,Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230106T200000
DTEND;TZID=America/Chicago:20230106T210000
DTSTAMP:20260408T081426
CREATED:20230101T220353Z
LAST-MODIFIED:20230103T011845Z
UID:16608-1673035200-1673038800@tonemadison.com
SUMMARY:Ghost Wars at MMSD Planetarium
DESCRIPTION:A mockup by Thomas Ferrella from “Ghost Wars\,” featuring a US dollar scorched in bright red and etched with atom bomb symbols over its Federal Reserve seals. \nEach winter seems to facilitate a new live multimedia collaboration between video artist and cinematographer Aaron Granat and multi-hyphenate BlueStem Jazz curator and co-founder Thomas Ferrella. From Mindstorm at the Madison Metropolitan School District (MMSD) Planetarium in March 2020 to Shadowlands at Garver Feed Mill in February 2021\, the two have been concocting psychedelic whirlwinds of ecstatic digital visuals and and jazz-inspired electroacoustic soundscapes (led by Ferrella’s “sonic frontiers collective” You Of All People). \nTheir newest project\, Ghost Wars\, premiered at Gallery Marzen in May 2022\, but now returns to the MMSD Planetarium here\, on the nights of January 6 and 7 (both starting at 8 p.m.)\, with a decidedly incendiary political angle. If Shadowlands (part of the Winter Is Alive cooler world carnival of 2021) delved into changing wetland ecosystems in both the abstract and on vividly literal terms\, Ghost Wars pushes boundaries further in its rippling raze of the personal and public desolations of late capitalism and endless war. Its imagery\, crafted or shot by Ferrella and manipulated by Granat in real time\, draws upon familiar totems and symbols (Ferrella’s art prints\, for one) to metamorphose a tapestry of American avarice and strife. As evidenced in a short preview below\, some of the stark visual components permeating the frame involve the atom bomb-etched American dollar bills sewn into the national flag. \nAlong with You Of All People’s extended technique and effects-laden spoken word providing the melodies and textures to this live brew under the Planetarium dome\, Granat and Ferrella have enlisted other local allies to enhance the breadth of the live spectacle—including Kit Caldwell (costume design)\, Ian Van D. (sculptural performance)\, and Lauren Lynch (choreography). \nAll proceeds from both unique hour-long performances will benefit the Madison chapter of Friends Of Ukraine. \n—Grant Phipps
URL:https://tonemadison.com/event/ghost-wars-at-mmsd-planetarium/
LOCATION:MMSD Planetarium\, 201 South Gammon Road\, Madison\, WI\, 53717\, United States
CATEGORIES:Culture,Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125116/ghostwars-tonehed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230107T200000
DTEND;TZID=America/Chicago:20230107T210000
DTSTAMP:20260408T081426
CREATED:20230102T201532Z
LAST-MODIFIED:20230103T011925Z
UID:16610-1673121600-1673125200@tonemadison.com
SUMMARY:Ghost Wars at MMSD Planetarium
DESCRIPTION:A mockup by Thomas Ferrella from “Ghost Wars\,” featuring a US dollar scorched in bright red and etched with atom bomb symbols over its Federal Reserve seals. \nEach winter seems to facilitate a new live multimedia collaboration between video artist and cinematographer Aaron Granat and multi-hyphenate BlueStem Jazz curator and co-founder Thomas Ferrella. From Mindstorm at the Madison Metropolitan School District (MMSD) Planetarium in March 2020 to Shadowlands at Garver Feed Mill in February 2021\, the two have been concocting psychedelic whirlwinds of ecstatic digital visuals and and jazz-inspired electroacoustic soundscapes (led by Ferrella’s “sonic frontiers collective” You Of All People). \nTheir newest project\, Ghost Wars\, premiered at Gallery Marzen in May 2022\, but now returns to the MMSD Planetarium here\, on the nights of January 6 and 7 (both starting at 8 p.m.)\, with a decidedly incendiary political angle. If Shadowlands (part of the Winter Is Alive cooler world carnival of 2021) delved into changing wetland ecosystems in both the abstract and on vividly literal terms\, Ghost Wars pushes boundaries further in its rippling raze of the personal and public desolations of late capitalism and endless war. Its imagery\, crafted or shot by Ferrella and manipulated by Granat in real time\, draws upon familiar totems and symbols (Ferrella’s art prints\, for one) to metamorphose a tapestry of American avarice and strife. As evidenced in a short preview below\, some of the stark visual components permeating the frame involve the atom bomb-etched American dollar bills sewn into the national flag. \nAlong with You Of All People’s extended technique and effects-laden spoken word providing the melodies and textures to this live brew under the Planetarium dome\, Granat and Ferrella have enlisted other local allies to enhance the breadth of the live spectacle—including Kit Caldwell (costume design)\, Ian Van D. (sculptural performance)\, and Lauren Lynch (choreography). \nAll proceeds from both unique hour-long performances will benefit the Madison chapter of Friends Of Ukraine. \n—Grant Phipps
URL:https://tonemadison.com/event/ghost-wars-at-mmsd-planetarium-2/
LOCATION:MMSD Planetarium\, 201 South Gammon Road\, Madison\, WI\, 53717\, United States
CATEGORIES:Culture,Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125116/ghostwars-tonehed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230118T190000
DTEND;TZID=America/Chicago:20230124T211500
DTSTAMP:20260408T081426
CREATED:20230114T212706Z
LAST-MODIFIED:20230118T213132Z
UID:16643-1674068400-1674594900@tonemadison.com
SUMMARY:Skinamarink at Marcus Point Cinema
DESCRIPTION:Kevin (Lucas Paul) sits on a carpeted floor facing a door in a darkened hallway. A plug-in nightlight glows to his right. \nStarting Thursday\, January 19\, “Skinamarink” also has show times at AMC Fitchburg. \nKyle Edward Ball’s Skinamarink (2022) has to be in contention for the most experimental 21st century feature to be given a wide release (and kudos to Shudder for giving a big push to such a not-for-everyone film). As with many of the most enduring horror movies\, Skinamarink is more about cultivating a vibe\, dispensing with all but the barest trappings of a plot\, which could theoretically be described as what’s happening on the other side of the TV in Poltergeist (1982). Or it can be seen as a deconstruction of cheaply made found-footage horror films like The Blair Witch Project (1999) and Paranormal Activity (2007) that have been lucrative since the advent of digital cameras\, scooping out facets of conventional narrative (analogous to what this bit does to stand-up comedy). \nSet in 1995\, Skinamarink essentially concerns young brother and sister\, Kevin (Lucas Paul) and Kaylee (Dali Rose Tetreault)\, who are lured through a door (that only sometimes exists) to a version of their house that doesn’t have their parents (Jamie Hill and Ross Paul) in it. The voice toys with them\, tries to placate them with public domain cartoons (proving that even mysterious supernatural beings fear copyright infringement suits)\, and eventually gives them violent instructions for some nefarious but undefined purpose. \nBut again\, just to emphasize the experimental nature of Ball’s approach: human faces only appear on screen a total of three times in the 100-minute runtime\, and for no more than a few seconds each time. Most of the dialogue is both hushed and distorted enough that subtitles are intermittently provided\, and the camera’s point of view is firmly the two siblings. The lens mostly points up and the large house around them\, filtered through a VHS grain that gives the swathes of black a distorted\, abstract quality that invites the viewer to mentally fill in something lurking in the darkness like a sinister version of Ken Jacobs’ The Movie That Invites Pausing (2020). If you’re prepared to bring your imagination to those dark corners\, you’ll certainly freak yourself out. \n—Lewis Peterson
URL:https://tonemadison.com/event/skinamarink-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/2023/01/02125059/skinamarink-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230126T190000
DTEND;TZID=America/Chicago:20230126T203000
DTSTAMP:20260408T081426
CREATED:20230117T210156Z
LAST-MODIFIED:20230117T210156Z
UID:16647-1674759600-1674765000@tonemadison.com
SUMMARY:EO at UW Cinematheque
DESCRIPTION:In the grass beyond a ribbon-cutting ceremony\, Eo stands calmly with a garland of carrots around his mane\, a subtle nod to the canonized wreath of flowers from “Au Hasard Balthazar.” \nSeveral films in recent years have centered the emotional experiences and points of view of our fellow mammals—Viktor Kossakovsky’s Gunda (2020) and Andrea Arnold’s Cow (2021)\, to name a couple—but Jerzy Skolimowski’s EO (2022) is perhaps the first to render the life of one\, a donkey\, with the sort of psychological flair typically reserved for a human or at least a fully anthropomorphized computer rendering. \nBorrowing liberally from one of the all-time cinematic touchstones\, Robert Bresson’s Au Hasard Balthazar (1966)\, EO perseveres as a metaphysical and earthly narrative. Those disparate elements interact singularly throughout a tragic cross-country journey that begins at a Polish traveling circus where the titular donkey is adored by his ring-performance partner Kasandra (Sandra Drzymalska\, analogous to Anne Wiazemsky’s Marie in Balthazar). In a way\, EO unfolds as a love story with Shakespearean shades\, as the two are inevitably separated\, and Eo’s journey becomes one of silent reconciliation. Skolimowski and cinematographer Michał Dymek visually manifest Eo’s desire for Kasandra’s warmth that’s missing through all his wandering far and near\, her hands caressing his muzzle and mane. \nSkolimowski amplifies Bresson’s spiritual and religious Dostoyevsky parable with an urgent sociological angle. This is partly due to the setting in modern times\, but also how the film represents the contrived separations of our kind from innocent observer Eo through its use of hyperlinked vignettes. It trades tones and genres as Eo escapes or moves between places in scenes that persistently showcase the contrast between fluorescence and natural light\, recalling Terence Malick’s predilections. \nBut it would all be somehow incomplete without the dramatic heft of Paweł Mykietyn’s score\, which is almost instantaneously overwhelming—its weeping strings conjuring a certain narrative artifice of old Hollywood\, and at once establishing Eo’s migration as one that sways between melodrama and magical realism. Like Arnold’s Cow\, EO would seem to be outlying in Skolimowski’s filmography\, and yet it carries a distinctive line of romantic drama that he cultivated more than a half-century ago. EO is perhaps the sum of the director’s innermost conflicts that emerges as hope for a world where love is essential and cruelty is incidental. \n—Grant Phipps
URL:https://tonemadison.com/event/eo-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/2023/01/02125056/eofilm-hed.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230127T190000
DTEND;TZID=America/Chicago:20230127T210000
DTSTAMP:20260408T081426
CREATED:20230114T080911Z
LAST-MODIFIED:20230622T232320Z
UID:16640-1674846000-1674853200@tonemadison.com
SUMMARY:The Good Boss at UW Cinematheque
DESCRIPTION:Blanco (Javier Bardem) smiles as he sits at a table in his office that overlooks the factory floor of Blanco Scales. \nIn Fernando León de Aranoa’s The Good Boss\, Blanco Scales is up for a regional business award. The owner (Javier Bardem) and the business that bears his name are one\, and he will stop at nothing to project the image of a benevolent\, civically minded pillar of the community. Manipulation\, intimidation\, bribery\, adultery\, and giving in to blackmail are all deemed necessary. \nBardem sports a shock of white hair reminiscent of his Skyfall (2012) antagonist Raoul Silva\, though Blanco is more practiced at hiding any potential villainous tendencies behind a smile\, a firm handshake\, and plenty of rhetoric about fairness and how his company is “like a family.” Of course\, he conveniently ignores both the rigid hierarchy implied by such a statement\, as well as the unique capacity family has to hurt and exploit its most vulnerable members\, as any manager who’s used that phrase does. \nCase in point: Miralles (Manolo Solo)\, Blanco’s shipping manager and childhood friend\, is continually ordering the wrong parts\, thus making it impossible for the factory to fulfill orders on time. Miralles confides in Blanco that he hasn’t been sleeping\, because he suspects his wife Aurora (Mara Guil) of cheating. Blanco takes it upon himself to ask her to stop the affair until at least the end of the week\, after the award inspection committee has stopped by. \nLeading up to the official inspection\, this is just one of many fires that Blanco tries to stomp out\, as he maintains his balance in a madcap comedy reminiscent of Billy Wilder’s One\, Two\, Three (1961). The Good Boss delivers laughs\, showing how far Blanco is willing to go to maintain the appearance of being upright while ultimately raising fair points about how modern capitalism has become more inclusive by giving the most craven of individuals the opportunity to rise by stepping on the necks of their fellow workers. \n—Lewis Peterson
URL:https://tonemadison.com/event/the-good-boss-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/2023/01/02125059/thegoodboss-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230127T200000
DTEND;TZID=America/Chicago:20230127T213000
DTSTAMP:20260408T081426
CREATED:20230120T205610Z
LAST-MODIFIED:20230622T232302Z
UID:16662-1674849600-1674855000@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premieres at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27\, and continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230128T140000
DTEND;TZID=America/Chicago:20230129T153000
DTSTAMP:20260408T081426
CREATED:20230120T210051Z
LAST-MODIFIED:20230622T232242Z
UID:16663-1674914400-1675006200@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premiered at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27. It continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre-2/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230202T190000
DTEND;TZID=America/Chicago:20230202T204000
DTSTAMP:20260408T081426
CREATED:20230126T195639Z
LAST-MODIFIED:20230622T232228Z
UID:16687-1675364400-1675370400@tonemadison.com
SUMMARY:Aftersun at UW Cinematheque
DESCRIPTION:Sophie (Frankie Corio) hugs her father (Paul Mescal) as they dance together on the last night of their vacation in Turkey. \nKids never really know their parents as people. Of course\, as one gets older\, it’s a nearly universal experience to collect bits and pieces of adulthood’s realities\, family secrets\, and an awareness of mortality that ultimately bring one closer to understanding a caretaker as human. But before that transformative coming-of-age symptom makes itself felt\, mothers and fathers tend to be figures filtered through the pristine eyes of childhood. \nCharlotte Wells’ astonishing directorial debut\, Aftersun (2022)\, explores how to reconcile those hazy\, naïve memories and beliefs of adolescence with the hardened knowledge of maturity brought on by loss and aging. The film follows both the 11- and 31-year old versions of Sophie Paterson (Frankie Corio and Celia Rowlson-Hall\, respectively) as she recalls a vacation to Turkey with her father\, Calum (Paul Mescal)\, in the early 2000s. The trip marked Calum’s 31st birthday and\, fatefully\, the last time Sophie ever saw him.  \nWells gives her audience the same tools to grasp Calum’s humanity as the two iterations of Sophie: footage from an old camcorder\, recollections of instances where Calum’s carefree façade crumbles\, and a rave-like liminal space that serves as a touchpoint for Sophie to attempt to reconnect with her younger self and a father she hasn’t seen in 20 years. With this framework—and a breathtaking performance by Mescal that just earned him an Academy Award nomination for best actor—Aftersun easily earns its place among the best films of last year\, most appropriately featured here in UW Cinematheque’s “Best Of 2022″ series. \n—Alisyn Amant
URL:https://tonemadison.com/event/aftersun-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/2023/01/02125045/aftersunfilm-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230203T200000
DTEND;TZID=America/Chicago:20230203T213000
DTSTAMP:20260408T081426
CREATED:20230130T083406Z
LAST-MODIFIED:20230622T232157Z
UID:16697-1675454400-1675459800@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premiered at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27. It continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre-3/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
END:VCALENDAR