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DTSTART;TZID=America/Chicago:20221104T210000
DTEND;TZID=America/Chicago:20221104T231500
DTSTAMP:20260617T114841
CREATED:20221028T204245Z
LAST-MODIFIED:20221028T205256Z
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SUMMARY:The Green Knight at Union South Marquee
DESCRIPTION:Sir Gawain (Dev Patel) bows before the titular knight (Ralph Ineson) in the overgrowth of a small chapel\, as golden light spills in. \n“The Green Knight” is also screening at Union South Marquee on November 5 at 6 p.m. \nDavid Lowery’s medieval art house fantasy The Green Knight (2021) asks its viewers to listen deeply to the breaths in between its siren calls as much as it commands observation of its treacherous cinematographic splendor—far beyond the conscious limitations of its sourced Arthurian adaptation. \nIn fact\, Lowery’s contained epic unspools like the From Software version of that centuries-old Celtic tale and visual manifestation of Camelot. With the multi-platform release of runaway hit Elden Ring this past winter\, those links hold even firmer in comparing their open worlds\, the game’s Roundtable Hold\, and the film’s wooded green chapel\, which recalls the many churches strewn about The Lands Between. Like the best moments in the worlds of Hidetaka Miyazaki\, The Green Knight is built on the pretensions of mysticism\, dreaded dreams\, and dark witticisms rather than pointedly dense orations or adherence to conventionally bloated motivations of high fantasy. \nDaniel Hart’s score further evokes memories of the aforementioned game (with compositions by Tsukasa Saito) in the hushed\, dissonant chants reverberating through foggy horizons and off-kilter semitone string phrasings that clash with the percussive snaps and rhythms of internal conflict. The music’s beckoning undulations always drums up those inner demons. So much of the film resides in subconscious life and death\, soaked in the sex and violence of nature—rock\, ash\, water\, vines\, wood\, blood\, cum\, amniotic fluid. The plot dissolves into a headless id\, a flailing man (Dev Patel) in a kingdom of myth. \nOne of the most indelible films of last year. \n—Grant Phipps
URL:https://tonemadison.com/event/the-green-knight-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T153000
DTEND;TZID=America/Chicago:20221111T124500
DTSTAMP:20260617T114841
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:20221105T190000
DTEND;TZID=America/Chicago:20221105T230000
DTSTAMP:20260617T114841
CREATED:20221017T162505Z
LAST-MODIFIED:20221017T162505Z
UID:16108-1667674800-1667689200@tonemadison.com
SUMMARY:Tone Madison NewsMatch 2022 Kickoff Party at Imaginary Factory
DESCRIPTION:Tone Madison invites you to celebrate the launch of our year-end fundraising campaign—and help us unlock $15\,000 in matching funds from the national NewsMatch program! We simply cannot do this without the direct financial support of our readers\, so we also want to express our thanks by showing you a good time. We’ll be holding our NewsMatch kick-off party on Saturday\, November 5 at Imaginary Factory at 7 p.m. \nTone Madison staff and contributors will be on hand to answer your questions\, spin some records\, and we’ll be filling up I.F.’s walls with projections of the original editorial illustrations and photos we’ve published this year. Anyone who donates $50 or more during the evening may challenge Tone Madison publisher Scott Gordon to a ping pong match. You can donate directly at tonemadison.com/donate\, and you can support us by ordering drinks! \nImaginary Factory will be serving its playful\, innovative cocktails and mocktails until 11 p.m.\, donating 20% of night’s the proceeds to support Tone Madison’s independent journalism. Soups I Did It Again will be serving food throughout the evening. \nWe’ll have some other details to share soon about our year-end campaign\, including a few other fun events during November and December. Sign up for our newsletter to keep up.
URL:https://tonemadison.com/event/tone-madison-newsmatch-2022-kickoff-party-at-imaginary-factory/
LOCATION:Imaginary Factory\, 1401 Northern Court\, Madison\, WI\, 53703\, United States
CATEGORIES:Tone Madison Events
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T220000
DTEND;TZID=America/Chicago:20221106T020000
DTSTAMP:20260617T114841
CREATED:20221028T190806Z
LAST-MODIFIED:20221028T190806Z
UID:16211-1667685600-1667700000@tonemadison.com
SUMMARY:Bev Rage & The Drinks\, Heavy Looks\, Heather The Jerk at Mickey's Tavern
DESCRIPTION:Glitz\, grime\, and glamor abound in Chicago band Bev Rage & The Drinks’ live show. Bev Rage infuse their scrappy queer-punk with sardonic venom and pointed bursts of genuine affection. Since releasing the Don’t Know Shit demo in 2016\, the band’s shifted a few members and refined their sound. Exes & Hexes\, the band’s recent full-length\, is the most polished entry of Bev Rage’s discography and a direct result of year’s worth of artistic evolution. Charming\, disarming\, raucous\, and rousing\, Bev Rage will find themselves nicely complemented by Madison acts Heather The Jerk and Heavy Looks\, who each flirt with similarly engaging dynamics. Heather The Jerk will be playing a rare live show following 2021’s fiery Cable Access TV—one of Tone Madison‘s top albums of that year—while Heavy Looks will be continuing a whirlwind run of local dates to support the recently-released Apathy.  \n—Steven SpoerlExes & Hexes by Bev Rage & the Drinks
URL:https://tonemadison.com/event/bev-rage-the-drinks-heavy-looks-heather-the-jerk-at-mickeys-tavern/
LOCATION:Mickey’s Tavern\, 1524 Williamson St.\, Madison\, Wisconsin\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221106T200000
DTEND;TZID=America/Chicago:20221106T230000
DTSTAMP:20260617T114841
CREATED:20221028T202015Z
LAST-MODIFIED:20221028T203718Z
UID:16213-1667764800-1667775600@tonemadison.com
SUMMARY:Magdalena Bay\, Bayli at Majestic
DESCRIPTION:Magdalena Bay (Mica Tenenbaum and Matthew Lewin) pose in colorful outfits against a sky blue background in this digitally enhanced promotional photo by Lissyelle Laricchia. \nFor over six years\, the duo Magdalena Bay (Mica Tenenbaum and Matthew Lewin) have been cultivating their vivacious sound\, style\, and presence after dropping a spaced-out cover of Tears For Fears’ revered “Head Over Heels.” From regularly interactive Monday live streams on Twitch to comedic TikTok promos to a plethora of full-length music videos that meld digital and analogue aesthetics of the past three decades\, Mica and Matt are now their own DIY brand of instantly charming pop personality. \nTheir tuneful penchant for all these appealing amalgamations was perfectly distilled on last year’s conceptual dance-pop record Mercurial World\, which playfully envelopes a range of sonic influences from progressive electronic\, crushed bitpop\, synthwave\, and R&B. The first single\, “Chaeri\,” is a magnified reflection on pandemic-fueled isolation and seasonal affective disorder\, pulsating with Lewin’s darkly flirtatious house beat that just melts into Tenenbaum’s introverted\, smoldering vocal performance throughout. \nOn the Luminelle label’s recently re-released deluxe edition of the record—which features a few remixes\, several bonus tracks\, and over a dozen anonymous confessions by Mag Bay’s most avid fans—the duo continues to extend their embrace of genres. Those include psychedelic pop (“All You Do“) and synth funk on the sugary rainbow that is “Unconditional\,” a Pee-wee’s Playhouse-meets-’90s Nickelodeon celebration of ecstatic\, uncontainable affection with an unrelentingly groovy electric bass line. \nWhile citing the individual appeal of the group’s singles is significant\, Mag Bay has also bucked the trend of writing in vacuum\, crafting a seamless album experience through mastering the typically arduous art of the segue. Mercurial World is not only remarkably produced in their widening musical lane (with contemporary influences of Charli XCX and Caroline Polachek)\, but it’s a sparkling showcase of a steady artistic vision. Boasting such definable hooks with an almost elusively crystalline slickness\, their upbeat earworms complement the theatricality and glam bent to their live shows\, complete with costume sets and a live drummer\, Nick Villamizar (who has roots in Mica and Matt’s former progressive rock band from the early-mid 2010s\, Tabula Rasa). \nVersatile NYC-based alternative R&B artist Bayli opens. \n—Grant Phipps
URL:https://tonemadison.com/event/magdalena-bay-bayli-at-majestic/
LOCATION:Majestic Theatre\, 115 King Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221110T190000
DTEND;TZID=America/Chicago:20221110T210000
DTSTAMP:20260617T114841
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:20221111T210000
DTEND;TZID=America/Chicago:20221111T235900
DTSTAMP:20260617T114841
CREATED:20221105T162832Z
LAST-MODIFIED:20221105T191522Z
UID:16262-1668200400-1668211140@tonemadison.com
SUMMARY:Aaron Brenton's Shutter Step\, Yin Waster\, Hannah Edlén at Dark Horse ArtBar
DESCRIPTION:Hannah Edlén’s forays into the avant-garde will prove especially illuminating at Dark Horse come Friday\, as the experimental musician will be accompanied by visual artist—and frequent Edlén collaborator—Ryan Lansing (of a few Madison music projects\, including ambient duo Good Corners). Edlén\, whose track “Butterfly Funeral” was listed as one of Tone Madison’s favorite songs of 2021\, will play second. Warped folk duo Yin Waster will open the night\, bringing the aggressively ambient bent that dominates their just-released The 1446 EP to the show. Aaron Brenton’s Shutter Step will be on hand to close things out with their distinctly modern take on jazz fusion. Combined\, this is one of the more eclectic and varied three-band bills that will be on offer throughout the week\, swinging an impressive gamut of styles. All of the performers here have clear artistic conviction\, creating an intangible common thread that’s tied this lineup together in a nice bow.  \n—Steven Spoerl \nThe 1446 EP by Yin WasterPhoto: Hannah Edlén\, via the artist’s Bandcamp.
URL:https://tonemadison.com/event/aaron-brentons-shutter-step-yin-waster-hannah-edlen-at-dark-horse-artbar/
LOCATION:Dark Horse ArtBar\, 756 E Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221112T130000
DTEND;TZID=America/Chicago:20221112T230000
DTSTAMP:20260617T114841
CREATED:20221105T162102Z
LAST-MODIFIED:20221105T162153Z
UID:16261-1668258000-1668294000@tonemadison.com
SUMMARY:Homie Fest II at The Rigby
DESCRIPTION:Fourteen exciting emo or emo-adjacent bands in one day at $20 is a bargain that’s reflective of the genre’s storied DIY upbringing. Cartwright\, Man Alive\, Endswell\, Honey Creek\, Equipment\, Excuse Me\, Who Are You?\, Tiny Voices\, Good News Dudes!\, Riot Nine\, The Sinner And The Saint\, Dear Mr. Watterson\, Nosebleeds\, Barely Civil\, and Kulek make up an enticing\, one-day lineup. Nearly all of the bands hail from various corners and pockets of Wisconsin\, including several from Madison. Ohio-based Equipment register as one of the clear standouts here\, joining Tone Madison favorites Dear Mr. Watterson in that regard. Here’s what we had to say about Dear Mr. Watterson’s 2021 EP Confusion Perfected: \n“Confusion Perfected‘s outsize energy\, riff-happy approach\, teeth-gnashing ferocity\, and unabashed scruffiness place it in territory that has rarely been inhabited this strikingly since Titus Andronicus’ 2008 debut The Airing Of Grievances. In lesser hands\, the end result of that combination usually winds up being an abject mess that amounts to ambitious ideas and poor execution. Dear Mr. Watterson adeptly avoids that trap\, channeling a playful precociousness that evens out the material’s jittery nature.” \n—Steven Spoerl\n \nConfusion Perfected by Dear Mr. Watterson \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/homie-fest-ii-at-the-rigby/
LOCATION:The Rigby\, 119 East Main Street\, Madison\, WI\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221112T170000
DTEND;TZID=America/Chicago:20221112T233000
DTSTAMP:20260617T114841
CREATED:20221105T155700Z
LAST-MODIFIED:20221105T155700Z
UID:16257-1668272400-1668295800@tonemadison.com
SUMMARY:Bereft\, Aseethe\, Corridoré\, The American Dead\, PV\, Whisky Pig at BarleyPop Live
DESCRIPTION:Bereft turned elements of black metal\, doom\, and post-rock into extended\, searing tracks that often felt like they were trying to surmount an overwhelming emotional tide. The Madison band’s atmospheric-black-metal tendencies emerged in full force on 2014’s debut album Lost Ages\, and the doom elements became more ruggedly pronounced on their 2017 follow-up\, Lands. Standout tracks like Lost Ages‘ “Unwelcome” and Lands closer “Waning Light” balanced heaviness with a vulnerability that always felt convincing and true. The band was at work on new material when guitarist/vocalist Alex Linden died in December 2021\, at the age of 36. \nThe remaining members of Bereft—guitarist vocalist Zach Johnson\, bassist Cade Gentry\, and drummer Jerry McDougal—plan to keep making music together\, but not under that name. At this last Bereft show\, the trio will play a set of music from across the band’s career. You won’t hear any attempts here to fill in Linden’s versatile guitar work or the deep\, growling chasm of his vocals. As Johnson told us in a recent story\, “in this way\, [Linden’s] absence isn’t just seen and felt\, it’s heard.”  \nAll proceeds from the show will go toward a music-lessons scholarship fund in Linden’s name at Madison Music Foundry\, honoring Linden’s deep commitment to music as an artist\, fan\, and community member. All the other acts playing at this show\, including Iowa City-based Aseethe and Madison epic-metallers Corridoré\, shared stages and friendship with Bereft throughout its memorable and tragically truncated existence. \n—Scott Gordon \nLands by Bereft
URL:https://tonemadison.com/event/bereft-aseethe-corridore-the-american-dead-pv-whisky-pig-at-barleypop-live/
LOCATION:BarleyPop Live\, 121 West Main Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221112T190000
DTEND;TZID=America/Chicago:20221112T230000
DTSTAMP:20260617T114841
CREATED:20221105T160502Z
LAST-MODIFIED:20221110T064518Z
UID:16258-1668279600-1668294000@tonemadison.com
SUMMARY:Case Kämäräinen at Café Coda
DESCRIPTION:Split between the US\, Finland\, and Poland\, Case Kämäräinen‘s international dynamic pays off in the quartet’s versatility. The project is currently made up of drummer Tomi Kämäräinen\, pianist Tuomo Uusitalo\, saxophonist Marek Konarski\, and bassist Myles Sloniker. Sloniker is the group’s lone American member and Konarski the only Polish member. Uusitalo and Kämäräinen both presently call Finland home. Each of Case Kämäräinen’s four members brings a distinct\, aggressive dynamic to the band’s performances\, muscling their way into strikingly complementary cacophonies of dueling harmonies and tasteful dissonance. \nMystique From The North\, Case Kämäräinen’s latest album\, taps into a more melancholic approach but it suits the material (Konarski and Kämäräinen are the only two from this live iteration to have played on the album). Even with that melancholic bent\, the record makes allowances for fiery playing\, as is the case on “Cabin Feaver\,” showcasing both the band’s inventiveness and range. \n—Steven Spoerl \n \nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/case-kamarainen-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221114T180000
DTEND;TZID=America/Chicago:20221114T210000
DTSTAMP:20260617T114841
CREATED:20221111T204823Z
LAST-MODIFIED:20221111T204823Z
UID:16318-1668448800-1668459600@tonemadison.com
SUMMARY:A Community Conversation And Performance: What Is A Woman? Reconstructing And Redefining at Memorial Union Rathskeller
DESCRIPTION:UW-Madison’s Social Justice Hub and the Trans Advocacy Madison group aim to unpack “how socially constructed definitions [of gender] are counterproductive” at this event\, which will combine a facilitated community discussion and an open mic. (Those interested in participating can reach out to the event’s organizers at sjhevents@studentaffairs.wisc.edu; the event is open to “performances of any type”). While the organizers didn’t want to simply put on a reactive event\, this one is especially welcome in light of the rash of transphobia Madison and the campus have experienced over the past year. From a full-on TERF conference to bigoted chalk messages to fascist goon Matt Walsh’s October visit to UW-Madison\, the need for community and solidarity is as urgent as it’s ever been. The poke at Walsh’s grossly manipulative propaganda film is hard to miss in the event’s title\, but the spirit of the event is more proactive than just a response. \n—Scott Gordon
URL:https://tonemadison.com/event/a-community-conversation-and-performance-what-is-a-woman-reconstructing-and-redefining-at-memorial-union-rathskeller/
LOCATION:Memorial Union Rathskeller\, 800 Langdon St\, Madison\, WI\, 53706\, United States
CATEGORIES:Culture,Politics
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221116T190000
DTEND;TZID=America/Chicago:20221120T220000
DTSTAMP:20260617T114841
CREATED:20221111T205142Z
LAST-MODIFIED:20221111T213809Z
UID:16320-1668625200-1668981600@tonemadison.com
SUMMARY:CodaFest at Café Coda
DESCRIPTION:The first-ever CodaFest is a five-night festival that impressively encompasses the sheer variety of jazz and improvised music Café Coda has showcased in Madison since opening in 2017. The top-line acts are two veteran\, boundary-pushing musicians who retain their fiery vitality today: saxophonist Roscoe Mitchell\, playing Wednesday night in a trio with bassist Jakob Heinemann and drummer Tim Russell\, and Marshall Allen\, leading the ongoing interstellar voyage of the Sun Ra Arkestra on Saturday night. Those highlights alone are a testament to the Willy Street venue’s ability to bring in great music\, and its deep commitment to the history and practice of jazz. \nCodaFest’s lineup also incorporates two jazz documentaries: Jazz In Exile (screening Thursday at 2 p.m. followed by a discussion with director Chuck France) details the careers of Black jazz musicians who left the United States to live and work in Europe\, and an episode from Ken Burns’ Jazz documentary\, titled A Masterpiece By Midnight (screening Friday at 2 p.m.)\, which surveys the splintering and development of jazz music from 1960 onward.  \nOther highlights throughout the fest include Chicago-based pianist/vocalist Alexis Lombre (Sunday at 3 p.m.); Coda owner Hanah Jon Taylor with bassist Reggie Workman\, drummer Dushun Mosley\, and pianist Luke Leavitt (Saturday\, 5 p.m.); and a duo set from guitarist Louka Patenaude and pianist Paul Hastil (Thursday\, noon). The festival has some free afternoon events and a range of prices for ticketed events (there’s also an all-access pass option for $275)\, so I’d recommend taking a thorough look at Coda’s events and tickets pages to plan ahead. \n—Scott Gordon \nthe Ritual and the Dance by Roscoe Mitchell & Mike Reed
URL:https://tonemadison.com/event/codafest-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T204500
DTSTAMP:20260617T114841
CREATED:20221111T200653Z
LAST-MODIFIED:20221111T213703Z
UID:16316-1668711600-1668717900@tonemadison.com
SUMMARY:Light Sleeper at Union South Marquee
DESCRIPTION:John LeTour (Willem Dafoe) is shown writing at a desk in his largely empty apartment at night\, shirtless. There is a tall\, stylized lamp behind him and a wine bottle sitting on the table next to a glass. \n“They figure you can tell a D.D. anything. Things they would never tell anyone else\,” drug dealer John LeTour (Willem Dafoe) narrates in writer-director Paul Schrader’s 1992 film Light Sleeper. The line frames  a scene that features David Spade as one of LeTour’s customers\, sitting in his underwear and going off on an unhinged philosophical rant while snorting cocaine. \nIt’s quite comic but helps draw us into LeTour’s illicit but comfortable world\, illustrating the control he tries to exert over his life as he navigates a range of shady\, unpredictable characters and absorbs the news that his boss (Susan Sarandon) wants to get out of the business. Cinematographer Ed Lachman’s shots of rainy Manhattan streets and half-lit car interiors\, alongside the baritone vocals of Michael Been’s song “World On Fire\,” combine in the film’s powerful opening.  \nThis being a Schrader film\, all his  trademark elements are at work: the lonely male protagonist\, his desperate fixation on a woman (Dana Delany\, as LeTour’s ex Marianne)\, and the mounting sense that the narrative is  bound for a final spasm of violence. Then again\, Roger Ebert wrote at the time of Light Sleeper‘s release: “This movie isn’t about plot\, it’s about a style of life\, and the difficulty of preserving self-respect and playing fair when your income depends on selling people stuff that will make them hate you.”  \nLeTour at once understands the bleak confines of his life but holds out hope for something greater. Even in Dafoe’s remarkable career\, this performance is a standout: tightly wound\, both aloof and deeply needy\, all those edges sharpened to a handsome prime. He makes it pretty alluring to get wrapped up in an existence most of us would not actually want to share. \n—Scott Gordon
URL:https://tonemadison.com/event/light-sleeper-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125228/lightsleeper_header.jpg
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DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T220000
DTSTAMP:20260617T114841
CREATED:20221111T211004Z
LAST-MODIFIED:20221114T060402Z
UID:16323-1668711600-1668722400@tonemadison.com
SUMMARY:The Plains at UW Cinematheque
DESCRIPTION:A shot from the backseat of Andrew Rakowski’s Hyundai Elantra shows him (right) and director David Easteal in the passenger’s seat (left) shortly after leaving their office park for the day. \nExcerpt from Grant Phipps’ review and interview with director David Easteal: \nDavid Easteal finds a new meditative grammar for the road movie in The Plains (2022)\, a rigorously composed docufiction epic about our habitual commute\, the intimacy of impermanence\, and the subtly direct intermediary of technology. \nIn the casting of himself as a secondary character to the film’s principal traveler (and occasional chauffeur) Andrew Rakowski\, Easteal’s film feels endlessly amidst a journey—treading on business routes and Monash Freeway beyond the suburbs of Melbourne\, Australia\, meandering through the life and times of its quinquagenarian driver over a 12-month period. A fixed static shot in the backseat of Rakowski’s compact Hyundai Elantra frames his world view\, quite literally\, as he peers out at the skyline and his fellow 5 p.m. commuters rolling along between traffic lights and km/h speed limit signs. But it’s the audible space within the car’s interior and Rakowski’s routine that command attention over a nearly three-hour duration\, whether it’s listening to the hum of talk radio (on 93.1 and 105.9 presets) for a minute after turning the ignition\, phoning his longtime wife Cheri or 95-year-old mother Inga at a nursing home (through his earbuds)\, chatting with fellow barrister and firm colleague Easteal\, or simply sitting speechless as the gusting ambiance of the roadway fills the vehicle’s cozy\, confined environs. \nIn its series of plainspoken\, philosophical car conversations\, The Plains shares some commonality with the tradition of Iranian art cinema from the minds of Abbas Kiarostami (Taste Of Cherry\, Ten) or Jafar Panahi (Taxi Tehran). But the film’s earnest virtues align it more closely with the nearly dialogue-free documentary Cousin Jules (1972)\, Dominique Benicheti’s enthralling\, almost devout five-year chronicle of an elderly French couple’s daily agrarian rituals. Easteal reapplies a similar aesthetic to Benicheti’s to construct a film deeply rooted in the customs of contemporary Australia and shifting landscapes like so many other places in the post-industrialized Western world (including Madison).
URL:https://tonemadison.com/event/the-plains-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125223/theplainsfilm-hed.jpg
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DTSTART;TZID=America/Chicago:20221118T190000
DTEND;TZID=America/Chicago:20221118T204500
DTSTAMP:20260617T114841
CREATED:20221111T212237Z
LAST-MODIFIED:20221115T180109Z
UID:16324-1668798000-1668804300@tonemadison.com
SUMMARY:All Is Forgiven at UW Cinematheque
DESCRIPTION:Annette (Marie-Christine Friedrich) and her young daughter Pamela (Victoire Rousseau) listen to the piano at a family gathering. \nExcerpt from Alisyn Amant’s review: \nAs Mia Hansen-Løve’s directorial debut\, All Is Forgiven (2007) is the logical birthplace of the cinematic tone that becomes distinct in her later films\, like Bergman Island (2021). She immerses viewers in moments of intense realism with characters Victor\, Annette\, and Pamela in the majority of the 105-minute running time. Take\, for example\, the portrayal of Victor’s addiction: one may expect the archetypal\, gritty\, and raucous scene of a person shooting heroin into their veins or snorting cocaine amidst dancing bodies and loud music. In All Is Forgiven\, the picture of addiction instead becomes a man wandering from park to park to find a dealer\, slipping away from outings with his daughter to run “errands” and waking up to the anticlimactic overdose of a lover. The expository tension between a dependence on drugs and the decay of a family still makes room for the subtle details of life: the sound of shoes on pavement or gravel\, the ripples of water on the surface of a pond\, the rustling of leaves and flowers. \nWhile that pervading sense of reality successfully creates an intelligent\, picturesque aura\, it simultaneously becomes a detriment to the viewer’s ability to connect with its characters as fixtures in a story. Moments that are supposed to be seen as monumental and emotional\, according to the typicality of narrative structure\, fall flat in service to realism. But regardless of one’s preference for the levels of tilt toward realism or romanticism\, All Is Forgiven is nonetheless an admirable debut that showcases the cinematic notions of a then-budding\, now-established director.
URL:https://tonemadison.com/event/all-is-forgiven-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20221120T183000
DTEND;TZID=America/Chicago:20221120T203000
DTSTAMP:20260617T114841
CREATED:20221111T213437Z
LAST-MODIFIED:20221111T213437Z
UID:16326-1668969000-1668976200@tonemadison.com
SUMMARY:Sonata (2021) at Union South Marquee
DESCRIPTION:Grzegorz Płonka (Michal Sikorski) plays the piano in his father’s study. \nComing-of-age biopic Sonata (2021) closes out the Polish Film Festival at the Union South Marquee\, which begins on Sunday\, November 13\, with Illusion (2022)\, and then continues the following Sunday\, November 20\, with a triple feature of Fucking Bornholm (2022)\, Black Sheep (2022) and Sonata. \nBartosz Blaschke’s film is based on the true story of Grzegorz Płonka (Michal Sikorski)\, who is misdiagnosed with autism as a child in the mid-1990s\, only to discover at age 14 that he actually suffers from hearing loss that prevented him from processing the upper registers necessary to understand speech. When Grzegorz finally gets fitted with a hearing aid thanks to the insistence of a home caregiver\, he’s set upon a difficult road toward a meaningful life: learning to speak and read in his teens\, and obsessively devoting himself to becoming a concert pianist\, with his ultimate goal to perform Beethoven’s “Moonlight Sonata” (which lends the film its name).  \nThe film uses similar audio effects to Sound Of Metal (2020) in the scene where Grzegorz finally hears clearly for the first time\, allowing the audience to perceive as he does. Previously\, his relationship with music consisted of pounding on a piano to feel the vibrations. Sonata also shares Sound Of Metal‘s more nuanced take on a disability narrative rather than standing as a simple triumph-over-adversity tale: much emphasis is put on Grzegorz’s early life being left to languish due to sheer institutional indifference despite the efforts of his exasperated parents (Małgorzata Foremniak and Lukasz Simlat) to get someone to respond on a human level instead of just enforcing the rules and their own expectations. \nWhen Grzegorz finally speaks\, he often has a frustratingly black-and-white interpretation of social interactions\, and a megalomaniac focus on his life goal of becoming a pianist. At every turn\, he’s met by people who qualify his talent as “playing well for a deaf person.” Grzegorz doesn’t so much want to prove them all wrong as he gets stuck on not fully grasping why someone would want to keep him from fully expressing himself. Understandably\, he lashes out when clashing once again with the harshness of those more concerned with checking boxes than letting him release his pent-up emotions.  \n—Lewis Peterson
URL:https://tonemadison.com/event/sonata-2021-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125222/sonata2021-eventhed.jpg
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DTSTART;TZID=America/Chicago:20221130T190000
DTEND;TZID=America/Chicago:20221130T201500
DTSTAMP:20260617T114841
CREATED:20221126T225031Z
LAST-MODIFIED:20221126T225209Z
UID:16385-1669834800-1669839300@tonemadison.com
SUMMARY:Mills Folly Microcinema: Seeing Pink\, videos by Ariel Teal at Arts + Literature Laboratory
DESCRIPTION:A still from “Becoming” (2018)\, borrowed from “Buffy The Vampire Slayer\,” of Teal’s favorite character Faith (Eliza Dushku) dancing at a club. \nFilm MFA and former instructor at UW-Milwaukee Ariel Teal\, who now studies social work in Madison\, will appear in person at this Mills Folly Microcinema event. While Teal is bringing three films that have made the rounds at experimental festivals in recent years\, they will also be premiering two new works\, Seeing and Pink Movie. \nTeal’s dual professional backgrounds have had an impact on their work in the exploration of personal trauma channeled through techniques from found footage and essay film. Difficult and direct as their practice may be\, it also has a sort of interior tenderness related to Teal dealing with their own trauma on their own terms. These films aren’t tailor-made for audiences so much as they embody a unique form of therapy to serve as a reminder for others of how their own lives may be fragmented in memory. \nAs on-screen texts in films like Becoming (2018)\, Monday Night (2018)\, and Romantic Getaway (2020) alternate between blunt descriptive statements and cut-up abstractions\, Teal shows a poetic control of their words at the sentence-level. Monday Night particularly highlights this\, with the language revealing entendres as it circles back on itself in fragments. “I hate that I didn’t see it coming” is shortened to “I hate that I\,” which is further simplified to an evocative “I hate.” \nThis trauma-informed cinema breaks with the clichés one might associate with the idea. Teal reads between the lines of the narratives we create for ourselves. Intertextual readings stand out here\, and the filmmaker intuitively understands the way our self-narratives are shaped by our aspirations toward beloved characters and forms (Buffy The Vampire Slayer and sitcom “special episodes” are central to Becoming and Romantic Getaway\, respectively). \nIf the existing work is any indication\, viewers can expect further developments in this direction from Teal’s new shorts that explore intersections of culture and the self with bracing clarity.  \n(Viewer’s note: the program features flashing lights and printed descriptions of sexual assault.) \n—Maxwell Courtright
URL:https://tonemadison.com/event/mills-folly-microcinema-seeing-pink-videos-by-ariel-teal-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
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