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DTSTART;TZID=America/Chicago:20221016T140000
DTEND;TZID=America/Chicago:20221016T154500
DTSTAMP:20260425T041447
CREATED:20221007T233433Z
LAST-MODIFIED:20221007T233530Z
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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:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T175000
DTEND;TZID=America/Chicago:20221020T135000
DTSTAMP:20260425T041447
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:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T190000
DTEND;TZID=America/Chicago:20221007T213000
DTSTAMP:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221006T190000
DTEND;TZID=America/Chicago:20221006T204500
DTSTAMP:20260425T041447
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:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220923T170000
DTEND;TZID=America/Chicago:20220923T203000
DTSTAMP:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220916T190000
DTEND;TZID=America/Chicago:20220916T203000
DTSTAMP:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220916T183000
DTEND;TZID=America/Chicago:20220917T220000
DTSTAMP:20260425T041447
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:20260425T041447
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:20260425T041447
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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DTSTART;TZID=America/Chicago:20220825T200000
DTEND;TZID=America/Chicago:20220825T220000
DTSTAMP:20260425T041447
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:20260425T041447
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:20260425T041447
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:20260425T041447
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:20260425T041447
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:20260425T041447
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220804T180000
DTEND;TZID=America/Chicago:20220804T220000
DTSTAMP:20260425T041447
CREATED:20220729T230125Z
LAST-MODIFIED:20220729T230206Z
UID:15135-1659636000-1659650400@tonemadison.com
SUMMARY:Drunken Master and Police Story 2 at UW Cinematheque
DESCRIPTION:Emerging from a mid-1970s sea of Bruce Lee imitators\, Jackie Chan quickly established himself as a singular talent\, directing his own films and leading a highly disciplined stunt team. Infusing the martial arts genre with his Chinese opera training and a willingness to put himself in physical danger\, Chan stood out as an innovator.\n\n \n\nLoosely based on a Chinese folk hero\, Drunken Master is one of the first films that let Chan’s goofy underdog persona shine. Creating new fighting styles for each of his films\, director Yuen Siu-Tin opted for entertainment value over realism\, creating the perfect showcase for Chan’s agility and comic mugging.\n\n \n\nPolice Story 2 shows a refinement of Jackie Chan’s personal style\, creating a vehicle perfectly tailored to his physical skills and underdog persona. Though he wisely didn’t try to top the first film’s death-defying finale\, Police Story 2 has plenty of incredibly dangerous stunts and intricate fight choreography. —Ian Adcock
URL:https://tonemadison.com/event/drunken-master-and-police-story-2-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:20220728T183000
DTEND;TZID=America/Chicago:20220728T183000
DTSTAMP:20260425T041447
CREATED:20220729T222306Z
LAST-MODIFIED:20220730T081131Z
UID:15125-1659033000-1659033000@tonemadison.com
SUMMARY:Pola X at UW Cinematheque
DESCRIPTION:Excerpt from Grant Phipps’ review: “For his fourth feature\, Pola X (1999)\, Carax transmutates Melville’s subversive 1852 novel Pierre: Or\, The Ambiguities with the sort of verve one would expect of the same iconoclastic mind who enraptured audiences with delirious romances—sister films\, even—Mauvais Sang (1986) and Lovers On The Bridge (1991). Using Melville’s template\, Carax applies the same charged style to a tale of a family in the dual process of fraying and coupling\, of incestuous dreams manifest\, offering a portrait of the artist as an ageless man. Initial search results and impressions of Pola X are likely to lump it in with what Artforum critic James Quandt coined as the “New French Extremity” movement for one particularly murky sexual encounter. Yet Carax’s approach is far from extreme\, savoring the smoldering intrigue of the subconscious framed between fits of panicked disillusionment from protagonist Pierre Valombreuse (the late Guillaume Depardieu).”
URL:https://tonemadison.com/event/pola-x-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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