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DTSTART;TZID=America/Chicago:20221117T190000
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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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T204500
DTSTAMP:20260419T041717
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221110T190000
DTEND;TZID=America/Chicago:20221110T210000
DTSTAMP:20260419T041717
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T153000
DTEND;TZID=America/Chicago:20221111T124500
DTSTAMP:20260419T041717
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221104T210000
DTEND;TZID=America/Chicago:20221104T231500
DTSTAMP:20260419T041717
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:20221030T140000
DTEND;TZID=America/Chicago:20221030T160000
DTSTAMP:20260419T041717
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:20221029T200000
DTEND;TZID=America/Chicago:20221029T230000
DTSTAMP:20260419T041717
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:20221028T190000
DTEND;TZID=America/Chicago:20221028T210000
DTSTAMP:20260419T041717
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:20221024T193000
DTEND;TZID=America/Chicago:20221024T230000
DTSTAMP:20260419T041717
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T190000
DTEND;TZID=America/Chicago:20221024T213000
DTSTAMP:20260419T041717
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221023T140000
DTEND;TZID=America/Chicago:20221023T154500
DTSTAMP:20260419T041717
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221021T190000
DTEND;TZID=America/Chicago:20221021T210000
DTSTAMP:20260419T041717
CREATED:20221014T221014Z
LAST-MODIFIED:20221018T152758Z
UID:16080-1666378800-1666386000@tonemadison.com
SUMMARY:Distant (2002) at UW Cinematheque
DESCRIPTION:Mahmut (Muzaffer Özdemir) sits alone on a bench by the water amidst the desolate\, wintry landscape of modern Istanbul\, while contemplating the Void of existence. \nExcerpt from Jason Fuhrman’s review: \nDistant (2002) unfolds in a seamless succession of long takes that throws into sharp relief the immense divide between the two individuals. However\, Turkish director Nuri Bilge Ceylan’s film also highlights the purposelessness and vacuity of Mahmut and Yusuf’s respective lives. Although they are polar opposites in many ways\, the two men share an inability to communicate their feelings\, the absence of any fulfillment in personal and professional pursuits\, and a deep-seated sense of existential futility.  \n With its elliptical narrative\, psychological acuity\, realistic performances\, and rigorous\, stunning compositions\, Distant masterfully evokes the difficulty of forming meaningful connections in an increasingly alienating modern world. In Cahiers Du Cinéma\, Ceylan states: “My first intention was to make a film on the emptiness of life\, the sensation of the void and uselessness.” While the prospect of watching such a movie might seem bleak and depressing\, the power of Distant derives from the auteur’s exceptional ability to absorb viewers in the fine details of everyday life. \nDistant should be seen in a movie theater to truly appreciate the subtle impact of its pure visual poetry and immersive sound design. Ceylan uses a deceptively simple premise to craft a vividly atmospheric\, richly textured\, and mesmerizing meditation on the human condition. His portrait reveals unexpected depth in existential emptiness\, fleeting beauty in the spiritual wasteland of advanced industrial society\, and elusive\, ineffable truths in the spaces between human beings.
URL:https://tonemadison.com/event/distant-2002-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221016T140000
DTEND;TZID=America/Chicago:20221016T154500
DTSTAMP:20260419T041717
CREATED:20221007T233433Z
LAST-MODIFIED:20221007T233530Z
UID:16005-1665928800-1665935100@tonemadison.com
SUMMARY:The Pit And The Pendulum at Chazen Museum Of Art
DESCRIPTION:Maria (Rona De Ricci) pleads to the Grand Inquisitor Torquemada (Lance Henriksen). \nFrom Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art: \nThe loosely Edgar Allan Poe-adapted The Pit And The Pendulum (1991) graphically depicts the horrors of the Spanish Inquisition. \n\n\n\nAccused of practicing witchcraft by the Grand Inquisitor Torquemada (Lance Henriksen)\, innocent Maria (Rona De Ricci) and her husband Antonio (Jonathan Fuller) are imprisoned and tortured. Torquemada grows increasingly infatuated with his beautiful captive\, and Maria has to learn magic from kindly witch Esmerelda (Frances Bay\, a David Lynch/Adam Sandler regular) in order to survive. Written by Gordon’s lifelong friend and collaborator Dennis Paoli (who visited the Wisconsin Film Festival this year)\, The Pit And The Pendulum manages to be a well-researched depiction of the Inquisition while also brimming with Gordon’s signature gallows humor. Gordon uses the hypocrisy and fanaticism of the Inquisition as a commentary on the rise of the religious right during the Reagan and Bush years as well as his eternal struggles with the MPAA ratings board. \n\n\n\nThe Pit And The Pendulum was a return to horror for Gordon\, who had spent the previous couple years developing Honey\, I Shrunk The Kids (1989) for Disney before stress-induced health issues led him to drop out as director. The film also reunited Gordon with producer and horror mogul Charles Band\, whose Empire Pictures had produced Gordon’s first four films. While Band is best known for churning out cheap straight-to-VHS junk like Puppet Master (1989)\, he always gave Gordon artistic freedom. The Pit And The Pendulum’s period ambience benefits from being filmed in an actual 15th-century castle owned by Band\, an ingenious cost-cutting method that Gordon would use again for the truly terrifying Castle Freak (1995).
URL:https://tonemadison.com/event/the-pit-and-the-pendulum-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221015T190000
DTEND;TZID=America/Chicago:20221015T203000
DTSTAMP:20260419T041717
CREATED:20221007T224754Z
LAST-MODIFIED:20221011T091317Z
UID:16001-1665860400-1665865800@tonemadison.com
SUMMARY:Take Out at UW Cinematheque
DESCRIPTION:Ming Ding (Charles Jang) peddles across a New York City intersection with a Chinese food delivery bag around his left wrist. \nExcerpt from Grant Phipps’ review and interview with co-writer and co-director Sean Baker: \nFor all its constant pressures of time\, chronicling the vicissitudes in a day in the life of a Chinese takeout deliveryman\, Sean Baker and Shih-Ching Tsou’s microbudget masterpiece Take Out (2004) possesses a timeless empathy. \nWith a shoestring budget of $3\,000 that was paid out of pocket\, Baker and Tsou’s film situates itself in an actual working restaurant in NYC’s Manhattan Valley neighborhood\, and maneuvers through the streets and apartment buildings of the Upper West Side with a kinetic velocity comparable to the Danish Dogme 95 films of Lars Von Trier and Thomas Vinterberg\, as well as the Dardenne Brothers’ Rosetta (1999)\, “as if it were shot from the barrel of a gun\,” Kent Jones once wrote of the latter. \nBaker assumes cinematographic duties\, using a MiniDV camera that winds its way into packed kitchen spaces\, stairwell and elevator corners\, as well as the car-crowded\, rain-drenched streets of the city with a comparably gripping urgency and spontaneity. \nThis is something more than a simple narrative; it’s wholly unified documentary and fiction. It’s fragments of an immigrant’s reality as if it were captured by one of deliveryman Ming Ding (Charles Jang)’s coworkers\, like his close friend and confidant Young (Jeng-Hua Yu)\, who understands his present predicament—to repay\, in less than 24 hours\, a debt to a loan shark who aided in his smuggling from China or face the crushing\, recurrent reality of violent retaliation. Young has also struggled to make a life for himself in New York after the same circumstance\, physically distant but emotionally connected to his family on the other side of the world.
URL:https://tonemadison.com/event/take-out-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T175000
DTEND;TZID=America/Chicago:20221020T135000
DTSTAMP:20260419T041717
CREATED:20221014T214228Z
LAST-MODIFIED:20221018T154121Z
UID:16074-1665769800-1666273800@tonemadison.com
SUMMARY:Stars At Noon at Marcus Point Cinema
DESCRIPTION:Trish Johnson (Margaret Qualley) and Daniel DeHaven (Joe Alwyn) stare at each other longingly. \n“Stars At Noon” is also screening at Marcus Palace Cinema. \nA nascent folie à deux is crushed by the world being significantly more mad than two people can manage in French auteur Claire Denis’ new erotic political thriller Stars At Noon (2022). Based on the 1986 novel by Denis Johnson\, the film transposes the original world-flattening event of the 1984 Nicaraguan revolution to a contemporary Nicaragua just as destabilized by COVID-19.  \nTrish Johnson (Margaret Qualley)\, an American would-be journalist can’t leave the country because a minor official is holding her passport\, forcing her to resort to sex work as a means of survival. She is swept up by Daniel DeHaven (Joe Alwyn)\, an English oil executive who naively assumes that he can go against the tides of global power structures. Each is dependent on the other for more than just sex—Johnson hopes to use DeHaven as a way out of the country and DeHaven gradually learns how little knowledge he has of political machinations. But Central American heat and desperation ensure that the erotic connection is the bedrock of their relationship\, which Denis shoots in her characteristic\, swaying close-ups. \nStars At Noon is Denis’ third feature mostly in English\, and her second to be distributed by A24. Qualley excels as Trish\, portraying a kind of vulnerability mixed with ironic remove (and alcoholism)\, as if the protagonist of a Noah Baumbach New York indie got into some real trouble. Alwyn also brings a scruffy upper-class charm to his role as a would-be white savior who overestimates his own mysteriousness. Though Robert Pattinson was originally cast to play Daniel\, before dropping out for The Batman (2022)\, Alywn more resembles a young Kenneth Branagh or Russell Crowe (Alwyn has also been dating Taylor Swift since 2016\, so Swifties\, you know what you have to do). \nThe delusion of white privilege drives the story forward\, much like Denis’ past White Material (2009)\, just under even more severe scrutiny. Johnson and DeHaven never totally abandon their unspoken belief that their countries of origin will shield them\, even as their situation becomes worse. Their attraction of convenience fuels their belief that going on the run will end well. The title song by frequent Denis collaborators Tindersticks is also worth noting—it’s an authentic-sounding piece of ‘60s Bossa Nova. Johnson and DeHaven share a slow dance in an empty dancehall that perfectly communicates how they view their relationship\, despite all evidence to the contrary: two stars burning so brightly together that they’re visible when they shouldn’t be\, if only anyone was around to look. \n—Lewis Peterson
URL:https://tonemadison.com/event/stars-at-noon-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221009T140000
DTEND;TZID=America/Chicago:20221009T153000
DTSTAMP:20260419T041717
CREATED:20220930T204357Z
LAST-MODIFIED:20221001T031226Z
UID:15913-1665324000-1665329400@tonemadison.com
SUMMARY:Stuck at Chazen Museum Of Art
DESCRIPTION:Bloodied and stuck halfway through a car windshield\, Thomas (Stephen Rea) glares at Brandi (Mena Suvari) in the driver’s seat. \nExcerpt from Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art: Driving home drunk and high\, nursing assistant Brandi Boski (Mena Suvari) hits a homeless man\, Thomas Bardo (Stephen Rea). Instead of reporting the accident\, Brandi goes home and parks the car in her garage\, with Thomas stuck halfway through her windshield. The rest of the film is a slow-motion battle of the wits\, as Thomas tries to escape while the increasingly desperate Brandi tries to cover up the crime. \nAlong with Stuart Gordon’s other late-period films King of the Ants (2003) and Edmond (2005)\, Stuck (2007) depicts ordinary people’s capacity for evil. While all these are not exactly horror films\, at times they manage to be more disturbing than Gordon’s genre work due to their real-life settings and grimy\, low-budget feel. Gordon once stated in an interview with Filmmaker Magazine that\, “as you get older you start realizing that real life is scarier than anything you can dream up\, that the things that people actually do to each other are far more bizarre and horrifying than anything that Lovecraft could dream of.” Though Stuck is openly indebted to Misery (1990)\, Gordon portrays Brandi not as a monster\, but as a sympathetic\, albeit self-centered character who is capable of doing monstrous things. Featuring impressive performances from both Suvari and Lea\, Stuck is a potent swan song from a master of suspense.
URL:https://tonemadison.com/event/stuck-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T190000
DTEND;TZID=America/Chicago:20221007T213000
DTSTAMP:20260419T041717
CREATED:20220930T203158Z
LAST-MODIFIED:20220930T204423Z
UID:15907-1665169200-1665178200@tonemadison.com
SUMMARY:The Day After (with director Nicholas Meyer in person) at UW Cinematheque
DESCRIPTION:A promotional still of the Dahlberg family and their apocalypse stowaway (Steve Guttenberg\, staring at the camera) in “The Day After.” \nExcerpt from Maxwell Courtright’s review: Director Nicholas Meyer appears here in person to introduce his 1983 TV disaster drama\, which features a mix of notable actors of the time (Jason Robards\, JoBeth Williams\, and Steve Guttenberg) and local people cast for maximum Kansas-ness\, certainly has the quality of something conceived more as a “special event” than a true film. Individual plot threads are played for their hyperbolic human drama while still paling in comparison to the completely blown-out existential stakes of nuclear war. \nThe Day After’s exposition sets up tourism ad-like idyllic images of rural Kansas and its everyday inhabitants—from the Dahlberg family preparing for their daughter Denise (Lori Lethin)’s wedding\, to the students and professors at the University Of Kansas. When someone remarks that Kansas City is functionally “in the middle of nowhere” and not at risk of harm from the impending war between the U.S. and Soviets\, John Lithgow’s grad student character responds (with classic Lithgow relish) that “there’s no nowhere anymore.” It’s a line that instills maximum terror in the American viewer-base who’d develop newfound fears of their hometowns no longer being safe from violence. Surely enough\, war does break out\, and the Kansas residents are sheltering\, scavenging\, and developing radiation sickness in short order. While it’s full of drama of the highest order\, there’s a schematic quality about it in the logical playing-out of its horrors being the entire point.
URL:https://tonemadison.com/event/the-day-after-with-director-nicholas-meyer-in-person-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221006T190000
DTEND;TZID=America/Chicago:20221006T204500
DTSTAMP:20260419T041717
CREATED:20220930T201732Z
LAST-MODIFIED:20220930T204446Z
UID:15904-1665082800-1665089100@tonemadison.com
SUMMARY:Television Event at UW Cinematheque
DESCRIPTION:Nicholas Meyer discusses his TV disaster drama “The Day After” in Jeff Daniels’ documentary “Television Event.” \nExcerpt from Maxwell Courtright’s review: Television Event\, the 2020 documentary by Jeff Daniels (not that one) about the making of The Day After\, is a relatively straightforward telling of events\, as Daniels gathers a somewhat random collection of people who made the film happen. The Day After director Nicholas Meyer is the star here\, positioned as the enfant terrible (hot off his directing of 1982’s Star Trek II: The Wrath Of Khan)\, who insisted on defying censors and filming all four hours of the script despite only two making it to the final cut. His devil-may-care attitude drives the idea of the original film as an heroic act\, something necessary that provoked passion in its creators despite their hardship filming it. While censors and restrictive producers feature\, the assumed disapproval of the Reagan administration provides most of the conflict. \nTelevision Event shares the same task with many other historical documentaries: showing its audience that now-common tropes were radical in a different context. But the film arguably goes too far in this direction\, highlighting nothing but the Sisyphean struggle to get this vitally important story to the small screen. Powers that supposedly made it difficult for The Day After to exist in the first place are also among the ones singing its praises in Television Event.
URL:https://tonemadison.com/event/television-event-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221002T200000
DTEND;TZID=America/Chicago:20221002T215000
DTSTAMP:20260419T041717
CREATED:20220923T182400Z
LAST-MODIFIED:20220924T024519Z
UID:15852-1664740800-1664747400@tonemadison.com
SUMMARY:Nosferatu: Phantom Of The Night at Leopold's Books Bar Caffè patio
DESCRIPTION:Count Dracula (Klaus Kinski) looms over the bed of Lucy Harker (Isabelle Adjani)\, putting her under his spell. \nStart spooky season and horror month off right with an outdoor screening of Werner Herzog’s Nosferatu: Phantom Of The Night (1979)\, a stylistic reinterpretation of F. W. Murnau’s silent classic of German Expressionism. It’s also the final film of the season on Leopold’s patio. (For these chilly nights\, bring a blanket.) \nInspired by the Romantic paintings of Caspar David Friedrich\, Murnau’s 1922 film is often regarded as the archetype and the pillar for gothic horror cinema. Rather than attempting to ape that aesthetic\, Herzog leans into his own idiosyncratic proclivities at the height of his prolific era of New German Cinema with an ethereal atmosphere and glowing mysticism. \nBesides the comparative pleasures in the casting and visual composition (including some shot-for-shot translation)\, Phantom Of The Night boasts a raga rock-inflected neoclassical new age score by Popol Vuh. It distinctively envelops the film’s otherworldly Transylvanian universe\, which beckons Jonathan Harker (Bruno Ganz) to close a real estate deal with Count Dracula (a perennially lurking Klaus Kinski\, who adopts more humanistic features than Max Schreck’s original grisly Orlok). \nHerzog lends a progressively macabre sense of humor to the final act’s plague infestation. Consider the group who lavishly dines in the throes of death\, being overtaken by rats. But it’s Doctor Van Helsing (Walter Ladengast) who more soberly attempts to counter the pervasive doom and gloom with a speech on science ushering in a new world\, lifting it out of the literal shadows\, as his rationality clashes against Jonathan’s wife Lucy (Isabelle Adjani)’s superstitious faith. \nIf Murnau was constructing his own language of silent cinema by way of landscape paintings of the 19th century\, Herzog and cinematographer Jörg Schmidt-Reitwein may have borrowed their own from Giorgio de Chirico\, who was also a notable inspiration to Fumito Ueda and Team Ico when rendering one of this century’s most influential adventure games\, Ico (2001). —Grant Phipps
URL:https://tonemadison.com/event/nosferatu-phantom-of-the-night-at-leopolds-books-bar-caffe-patio/
LOCATION:Leopold’s Books Bar Caffè\, 1301 Regent Street\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220923T170000
DTEND;TZID=America/Chicago:20220923T203000
DTSTAMP:20260419T041717
CREATED:20220916T203717Z
LAST-MODIFIED:20220919T154243Z
UID:15811-1663952400-1663965000@tonemadison.com
SUMMARY:Enigma: The Prints Of David Lynch gallery reception & David Lynch: The Art Life screening at Tandem Press
DESCRIPTION:Excerpt from Jason Fuhrman’s article: In conjunction with a reception for Enigma on Friday\, September 23\, starting at 5 p.m.\, Tandem Press will also host an outdoor screening of the documentary David Lynch: The Art Life (2016)\, co-directed by Jon Nguyen\, Rick Barnes\, and Olivia Neergaard-Holm. The movie screening will begin at 7 p.m. on the lawn in front of the Apex building where Tandem is located on the North Side. Guests are encouraged to bring blankets or chairs. \nLynch worked closely with Tandem master printers Andy Rubin and Bruce Crownover and a group of graduate students to create several monotypes\, editioned prints\, and photogravures. Lynch returned to the studio in the summers of 1998\, 1999\, and 2001\, and worked with the press remotely from 2007 to 2008. By all accounts\, Lynch left the imprint of his eccentric personality on Tandem. \nThe predominantly monochromatic exhibition parallels Lynch’s cinema insofar as the meaning of the work remains obscure\, but the power of his images cannot be denied. Lynch’s films compel audiences to watch differently—they often feel like paintings that are meant to be experienced\, rather than explained. Similarly\, the recurring motifs\, rich symbolism\, and dreamlike textures of his prints imbue the work with a distinctively narrative quality. \nDavid Lynch: The Art Life screening alongside the reception for the Engima exhibition feels like the perfect pairing. The documentary plainly demonstrates how Lynch has always been a tactile artist while he manipulates various materials with his bare hands and leisurely performs manual labor. While few of Lynch’s films are actually mentioned in The Art Life\, it emphasizes the myriad intricate connections between his various pursuits\, and suggests that cinema represents just one facet of his vision.
URL:https://tonemadison.com/event/enigma-prints-of-david-lynch-gallery-reception-david-lynch-the-art-life-screening-at-tandem-press/
LOCATION:Tandem Press\, 1743 Commercial Ave\, Madison\, WI\, 53704\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220916T190000
DTEND;TZID=America/Chicago:20220916T203000
DTSTAMP:20260419T041717
CREATED:20220909T165746Z
LAST-MODIFIED:20220909T165942Z
UID:15674-1663354800-1663360200@tonemadison.com
SUMMARY:The Heroic Trio at UW Cinematheque
DESCRIPTION:A delirious blend of superhero action and supernatural wuxia\, The Heroic Trio (1993) is a truly weird showcase for three of Hong Kong’s biggest female stars. After a series of infant kidnappings that leave police baffled\, masked superhero Wonder Woman (Anita Mui) tries to catch the mysterious baby-snatchers while keeping her identity a secret from her detective husband. She soon discovers that motorcycle-riding mercenary Thief Catcher (Maggie Cheung) and cold-blooded assassin Invisible Woman (Everything Everywhere All At Once’s Michelle Yeoh) are both linked to the crimes. Initially on opposing sides\, the three join forces to stop Invisible Woman’s master\, a powerful eunuch (Shi-Kwan Yen) trying to take over the world.  \nCo-directed by gangster film auteur Johnnie To and wuxia master Siu-Tung Ching\, The Heroic Trio is a combination of both directors’ highly stylized and playfully postmodern signatures. Though The Heroic Trio wasn’t a hit during original release\, everyone reunited for a low-budget post-apocalyptic sequel (Executioners\, screening the next Friday\, September 23) the very same year in an attempt to recoup production costs. Both films will be shown in newly restored 4K DCP with English subtitles\, a welcome upgrade from the questionably dubbed Dimension Films versions that made the films cult classics in the VHS era. —Ian Adcock
URL:https://tonemadison.com/event/the-heroic-trio-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:20220916T183000
DTEND;TZID=America/Chicago:20220917T220000
DTSTAMP:20260419T041717
CREATED:20220912T212303Z
LAST-MODIFIED:20220912T221919Z
UID:15721-1663353000-1663452000@tonemadison.com
SUMMARY:RRR at Union South Marquee Cinema
DESCRIPTION:No prior knowledge of Indian historical figures Alluri Sitarama Raju and Komaran Bheem is necessary to appreciate as S.S. Rajamouli’s bombastic action film RRR (2022). This three-hour epic reimagines the two real life anti-Raj activists Bheem (N.T. Rama Rao Jr.\, often referred to as NTR Jr.) and Rama Raju (Ram Charan) as near-superhuman strongmen\, an analogue to Goku and Vegeta for 1920s India. \nRajamouli’s infectious enthusiasm for over-the-top action set pieces have led to RRR becoming a crossover hit with audiences who aren’t usually tuned in to Indian cinema\, both in America and worldwide. (Of course\, having the highest production budget of any Indian film to date surely has something to do with it.) \nThe plot in brief: Bheem hopes to rescue a kidnapped child from cartoonishly evil British Colonialists. Rama Raju works for the British police. Both go undercover\, and the men become best friends without ever realizing each other’s true identity. Tension dramatically comes to head after the requisite dance number. \nRajamouli is clearly having a blast staging CGI-heavy action. Only Top Gun: Maverick‘s plane scenes come anywhere close to RRR‘s level of excitement\, and the Indian production didn’t have to utilize taxpayer-funded fighter jets to do it. (That is not to say RRR doesn’t have its own problematic implications.) But at the end of the day\, it’s a giant spectacle that highlights the strengths of the theatrical experience. And this may be your last chance to see the film locally. —Lewis Peterson \n  \nRRR screens both Friday and Saturday at 6:30 p.m.\, with an intermission halfway through its 181-minute running time.
URL:https://tonemadison.com/event/rrr-at-union-south-marquee-cinema/
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:20220909T190000
DTEND;TZID=America/Chicago:20220909T210000
DTSTAMP:20260419T041717
CREATED:20220902T164941Z
LAST-MODIFIED:20220902T175152Z
UID:15492-1662750000-1662757200@tonemadison.com
SUMMARY:Blindspotting (2018) at UW Cinematheque
DESCRIPTION:Carlos López Estrada’s welcome debut\, in collaboration with co-writers and co-stars Daveed Diggs and Rafael Casal\, feels a lot like a feature-length version of the first season of the FX series Atlanta (but in Oakland here)\, as it challenges systemic societal problems like wealth inequality\, racial profiling\, and masculine posturing with a sharply humorous and humane narrative. \nWhile Blindspotting (2018)’s more heavily scripted encounters begin to amass in the latter half\, pulling attention away from the indisputable chemistry between Diggs and Casal (as longtime best friends Collin and Miles\, respectively)\, the film continues to characterize the co-stars’ charisma with impressive hip-hop freestyles. They feel so authentically impromptu and energetic\, even when tied to the less thrilling narrative framework. \nGiven the aforementioned allusion to Atlanta\, Estrada’s film was fittingly adapted for a TV series of the same name with executive producers Diggs and Casal returning. Premiering on Starz in June of last year\, it expands upon the experiences and agency of Ashley (Jasmine Cephas Jones)\, Miles’ partner in this original film; and a second season is set to premiere next month. \nResist gentrifying re-branding\, but do try that new standard vegan burger at Kwik Way. —Grant Phipps
URL:https://tonemadison.com/event/blindspotting-2018-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:20220901T200000
DTEND;TZID=America/Chicago:20220901T213000
DTSTAMP:20260419T041717
CREATED:20220826T200902Z
LAST-MODIFIED:20220827T011338Z
UID:15437-1662062400-1662067800@tonemadison.com
SUMMARY:Rooftop Cinema: North By Current at Madison Museum Of Contemporary Art
DESCRIPTION:Angelo Madsen Minax’s deeply felt documentary North By Current (2021) is tethered to unraveling a family tragedy as much as it is a family itself. Much like Poly Styrene: I Am A Cliché\, which screened as part of Rooftop Cinema a few weeks ago\, the filmmaker introduces their work by conjuring a long-internalized question to explore personal history. “How did you become who you became?” Minax asks\, his voice stretched thin. There’s a contemplative confidence in his words\, and yet his tone is exasperated\, as he anticipates the confrontation of present reality and past relationships in returning home to the snowy stretches of rural Grayling\, Michigan. \nWhile dealing with the broad fallout from the sudden death of niece Kalla (his sister Jesse’s infant daughter) and a police investigation that rules it a homicide\, which dredges up other familial woes surrounding addiction and abuse\, Angelo also grapples with Mormon parents who reject his gender transition and artistic identity. In scenes that are both illuminating and devastating\, complemented by Julien Baker‘s abstract and reverb-heavy score\, North By Current interweaves a poetically splintered autobiography with a meditation on the filmmaking process. —Grant Phipps
URL:https://tonemadison.com/event/rooftop-cinema-north-by-current-at-madison-museum-of-contemporary-art/
LOCATION:Madison Museum of Contemporary Art\, 227 State Street\, Madison\, WI\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220825T200000
DTEND;TZID=America/Chicago:20220825T220000
DTSTAMP:20260419T041717
CREATED:20220819T191844Z
LAST-MODIFIED:20220820T055211Z
UID:15352-1661457600-1661464800@tonemadison.com
SUMMARY:Rooftop Cinema: The Village Detective: A Song Cycle at Madison Museum Of Contemporary Art
DESCRIPTION:Excerpt from Maxwell Courtright‘s review: As any nonfiction filmmaker who’s working with celluloid material must acknowledge\, distinctions between truth and fiction are fraught in the Russian film archive. The Village Detective: A Song Cycle director Bill Morrison notes how staged footage from the third anniversary of 1917’s October Revolution is sometimes treated as footage of the original event; earlier\, Morrison details how the 1917 American film about the death of Rasputin\, The Fall Of The Romanoffs\, co-starred and was guided by Rasputin’s real-life rival Iliodor. This may give a clue as to why Morrison focuses even more than usual on the imperfections of this source material (the original\, recovered 1969 film The Village Detective)\, with several stretches of his film almost Brakhage-like in their splashes of rusty waves that obscure all identifiable figures for minutes on end. This is unvarnished\, a more true” presentation of a film that Morrison belatedly acknowledges exists in other\, cleaner formats; history sits inescapably on the image’s surface.
URL:https://tonemadison.com/event/rooftop-cinema-the-village-detective-a-song-cycle-at-madison-museum-of-contemporary-art/
LOCATION:Madison Museum of Contemporary Art\, 227 State Street\, Madison\, WI\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220822T200000
DTEND;TZID=America/Chicago:20220822T220000
DTSTAMP:20260419T041717
CREATED:20220819T203516Z
LAST-MODIFIED:20220819T224216Z
UID:15382-1661198400-1661205600@tonemadison.com
SUMMARY:Mariupolis at Leopold's Books Bar Caffè patio (following Ukrainian fundraiser dinner)
DESCRIPTION:Excerpt from Grant Phipps’ recent article about Sam Brown’s outdoor movie series at Leopold’s: Apart from the Herzog-Kinski features\, Brown has also been hosting fundraising events that include monthly Ukrainian dinners that benefit the international nonprofit World Central Kitchen. The next one\, on Monday\, August 22\, at 5 p.m.\, is coupled with a patio screening of the documentary Mariupolis (2016) by director Mantas Kvedaravičius. The Lithuanian-born Kvedaravičius was killed this past April during the Russian siege of Mariupol shortly before the Cannes premiere of companion film Mariupolis 2. Brown cites the efforts of producer Anna Palenchuk\, founder of the Kyiv-based 435 Films\, for helping make the 8 p.m. screening possible.
URL:https://tonemadison.com/event/mariupolis-at-leopolds-books-bar-caffe-patio/
LOCATION:Leopold’s Books Bar Caffè\, 1301 Regent Street\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220815T210000
DTEND;TZID=America/Chicago:20220815T223000
DTSTAMP:20260419T041717
CREATED:20220812T171040Z
LAST-MODIFIED:20220812T172553Z
UID:15293-1660597200-1660602600@tonemadison.com
SUMMARY:Creature From The Black Lagoon at Memorial Union Terrace
DESCRIPTION:Though by all accounts\, it’s the campy embodiment of the creature-feature genre\, Jack Arnold’s original Creature From The Black Lagoon (1954) stands out in WUD Film’s summer programming lineup at Memorial Union Terrace as the oldest and most classically distinguished selection. Natural horror and sci-fi invasion adventures ruled the day through the 1950s\, first finding an audience with Christian Nyby’s The Thing From Another World (1951)\, which yielded one of the all-time great remakes in John Carpenter’s The Thing (1982). But\, can Nyby’s film claim to have inspired two official sequels and a short-running musical? I think not. \nWhile the rubbery\, amphibious “Gill-man” himself isn’t terribly frightful and the dynamic between male scientists on land leaves something to be desired\, the fluid underwater diving and stalking sequences\, actually directed by James C. Havens\, are beautiful to behold. They surely must have inspired a young Steven Spielberg at the time\, who went on to make the thrilling cinematic event of the 1970s in Jaws (1975)\, which spawned too many imitators to even account for. (Without Creature\, there also wouldn’t be 2018 Best Picture winner The Shape Of Water.) In all cases\, the original visions have stood the test of time. And screening to a lively audience sprawled out on the Terrace\, Creature From The Black Lagoon can perhaps serve as a gateway to a budding horror historian or enthusiastic young filmmaker. —Grant Phipps
URL:https://tonemadison.com/event/creature-from-the-black-lagoon-1954-at-memorial-union-terrace/
LOCATION:Memorial Union Terrace\, 800 Langdon Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220811T200000
DTEND;TZID=America/Chicago:20220811T220000
DTSTAMP:20260419T041717
CREATED:20220805T170023Z
LAST-MODIFIED:20220805T170908Z
UID:15229-1660248000-1660255200@tonemadison.com
SUMMARY:Rooftop Cinema: Poly Styrene: I Am A Cliché at Madison Museum Of Contemporary Art
DESCRIPTION:As with years of recent Rooftop Cinema past\, the outdoor series tends to favor an annual explication of an iconoclastic musician or groundbreaking movement in punk or the avant-garde. Past year’s selections have included Tony Conrad: Completely In The Present in 2019 to Desolation Center in 2020. This year’s Poly Styrene: I Am A Cliché is a multifaceted portrait of the titular British-Somali poet and vocalist (born Marianne Elliott-Said)\, who fronted X-Ray Spex in late 1970s London. \nWhile Poly’s DIY flair for fashion and distinctively defiant punk rock influenced riot grrrl acts in the 1990s and Afro-punk in the 2000s\, this documentary ultimately revolves around a family affair\, as it’s co-directed by the famed singer’s daughter Celeste Bell (with increasingly prolific documentarian Paul Sng). \nIn the opening seconds of the film\, Bell considers a question that’s often asked of her about Poly being a good mother. Over the course of 90 minutes\, Bell attempts to answer and reconcile the faces of public and private life. In reconstructing and retracing Poly Styrene’s artistic roots through artifacts that predate Bell while simultaneously sifting through early memories (or those made in her absence) as a child\, this biography documentary becomes a surprisingly psychological and uncommonly comprehensive look at identity. —Grant Phipps
URL:https://tonemadison.com/event/rooftop-cinema-poly-styrene-i-am-a-cliche-at-madison-museum-of-contemporary-art/
LOCATION:Madison Museum of Contemporary Art\, 227 State Street\, Madison\, WI\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220807T210000
DTEND;TZID=America/Chicago:20220807T233000
DTSTAMP:20260419T041717
CREATED:20220729T232443Z
LAST-MODIFIED:20220729T232443Z
UID:15152-1659906000-1659915000@tonemadison.com
SUMMARY:A League Of Their Own at Memorial Union Terrace
DESCRIPTION:Though the film may have caused the first stirrings of feminist ideology in a generation of impressionable athletes\, its combination core as a pure baseball comedy is what has made it stick. A League Of Their Own tells the mostly-fictionalized account of the All-American Girls Professional Baseball League (AAGPBL) in its prime. As Major League Baseball players continue to get shipped overseas as soldiers for WWII\, the businessmen of the American dynasty quickly notice the faltering profits. They eventually land on the novel idea of a professional women’s league to fill the time and their pockets.\n\n \n\nDirector Penny Marshall and screenwriters Lowell Ganz and Babaloo Mandel meet viewers with the familiarity of America’s Pastime to ease some into the fact that women can be ballplayers\, actually. It also wouldn’t be the dramedy of resilience that it is without its acknowledgment of the barriers women faced in the 1940s\, especially those who stepped outside the boundaries of the home when the war made it essential. —Alisyn Amant
URL:https://tonemadison.com/event/a-league-of-their-own-at-memorial-union-terrace/
LOCATION:Memorial Union Terrace\, 800 Langdon Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220804T200000
DTEND;TZID=America/Chicago:20220804T220000
DTSTAMP:20260419T041717
CREATED:20220729T231120Z
LAST-MODIFIED:20220730T081226Z
UID:15140-1659643200-1659650400@tonemadison.com
SUMMARY:Rooftop Cinema: The American Sector at Madison Museum of Contemporary Art
DESCRIPTION:Rooftop Cinema returns to the sculpture garden atop MMoCA on State Street for a 17th season\, now on Thursday nights in August. The outdoor series\, which has showcased everything from experimental animation to concert films to offbeat narratives\, now shifts its thematic lens towards a four-film slate of personal documentaries. Courtney Stephens and Pacho Velez’s The American Sector (2020) kicks off Rooftop’s 2022 programming here. The succinct 70-minute film is a fusion of travelogue\, political documentary\, and art appreciation\, as the co-directors capture sections of the Berlin Wall that have been reappropriated and displayed in over 75 locations across the United States\, from Fort Benning to Vegas. Based on Velez’s prior work with slow cinema ethnographic fiction Manakamana (a 2014 Wisconsin Film Festival selection)\, expect a distinctive eye for detail and resonant commentary on American values. —Grant Phipps
URL:https://tonemadison.com/event/rooftop-cinema-the-american-sector-at-madison-museum-of-contemporary-art/
LOCATION:Madison Museum of Contemporary Art\, 227 State Street\, Madison\, WI\, United States
CATEGORIES:Film
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