{"id":17832,"date":"2020-01-10T12:18:42","date_gmt":"2020-01-10T18:18:42","guid":{"rendered":"https:\/\/www.thebozho.com\/?p=17832"},"modified":"2020-01-21T15:09:05","modified_gmt":"2020-01-21T21:09:05","slug":"uw-cinematheque-preview-spring-2020","status":"publish","type":"post","link":"https:\/\/www.thebozho.com\/uw-cinematheque-preview-spring-2020\/","title":{"rendered":"10 standout films from Cinematheque&#8217;s spring schedule"},"content":{"rendered":"<p>Looking to break away from the remakes, reboots and endless sequels dominating your local multiplex? Then you\u2019re in luck: <a href=\"https:\/\/cinema.wisc.edu\" target=\"_blank\" rel=\"noopener noreferrer\">UW Cinematheque<\/a> has released its spring schedule.<\/p>\n<p>The slate features a wide array of films, including series on directors <a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/federico-fellini-centennial\" target=\"_blank\" rel=\"noopener noreferrer\">Federico Fellini<\/a>, <a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/s-craig-zahler\" target=\"_blank\" rel=\"noopener noreferrer\">S. Craig Zahler<\/a> and <a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/chantal-akerman\" target=\"_blank\" rel=\"noopener noreferrer\">Chantal Akerman<\/a>, and <a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/ucla-festival-preservation\" target=\"_blank\" rel=\"noopener noreferrer\">restorations<\/a> of golden age Hollywood classics by UCLA\u2019s Film and Television Archive.<\/p>\n<p><iframe loading=\"lazy\" title=\"Cunningham - Official Trailer\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/B4t_l5mu9lE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>The season opens on Thursday and Friday, <a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/premiere-showcase#2625\" target=\"_blank\" rel=\"noopener noreferrer\">Jan. 30-31<\/a>, with something you may not have seen before: 3-D dancing! Alla Kovgan\u2019s 2019 documentary <em>Cunningham <\/em>celebrates the life of Merce Cunningham in a way the <a href=\"https:\/\/www.the-scientist.com\/news-opinion\/the-eternal-digital-dance-40618\" target=\"_blank\" rel=\"noopener noreferrer\">experimental choreographer<\/a> probably would have loved: by recreating some of his best work in immersive 3-D. Kovgan pulls double-duty, preserving Cunningham\u2019s game-changing work and delivering an ambitious statement of her own.<\/p>\n<p>And at Cinematheque, <em>Cunningham <\/em>is in good company. Here are 10 highlights of the spring roster:<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 20px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"VARDA BY AGN\u00c8S Trailer | TIFF 2019\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/n37iq8cCDH0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018Varda by Agn\u00e8s\u2019 (2019)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/premiere-showcase#2633\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Friday, Feb. 7, 4070 Vilas Hall<\/em><\/a><\/p>\n<p>French New Wave icon Agn\u00e8s Varda, who died last March, couldn\u2019t have come up with a better swan song. <em>Varda by Agn\u00e8s<\/em> explores the late film director\u2019s life, serving as a walkabout through her storied career. The documentary takes an inside look at Varda\u2019s films, photos and feminism, but it also paints a distinctly human portrait of the cinematic titan by featuring the little things she loved, from cats to heart-shaped potatoes. Equal parts warm and experimental, <em>Varda by Agn\u00e8s <\/em>proves she was a true original until the very end.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"63 Up | Official Trailer\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/Ugw7hUoJ0C0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u201863 Up\u2019 (2019)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/premiere-showcase#2651\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Friday and Saturday, Feb. 21-22, 4070 Vilas Hall<\/em><\/a><\/p>\n<p><em>Up <\/em>(no, not the devastating Pixar flick) is one of the most ambitious projects ever put on screen. Begun in 1964 by Canadian director Paul Almond and continued thereafter by Michael Apted, the documentary film series follows 14 British children every seven years from age 7 onward. <em>63 Up <\/em>is the ninth installment, checking in with the kids in their sixties. If you can steel yourself for a group of English boomers\u2019 Brexit takes, the <em>Up<\/em> series always engages. It\u2019s possibly the most complete portrayal of growing up anywhere.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/41666269?color=51bcce&amp;portrait=0\" width=\"750\" height=\"563\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018The Killing Floor\u2019 (1985)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/ucla-festival-preservation#2653\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Saturday, Feb. 22, 4070 Vilas Hall<\/em><\/a><\/p>\n<p>Helmed by <em>Predator<\/em> actor Bill Duke, <em>The Killing Floor<\/em> tells a story that\u2019s unfortunately still pretty relevant. Set against the Chicago Race Riot of 1919, the film follows Frank (Damian Leake), a young, black farmer who relocates to Chicago from Mississippi in hopes of more progressive race relations. He gets a job at a meatpacking plant and soon finds that the Windy City is also rife with racism. But when Frank becomes involved in the creation of one of the country\u2019s first interracial labor unions, he begins taking steps to fight back. <em>The Killing Floor<\/em> also stars Oscar nominee Alfre Woodard (<em>Cross Creek<\/em>) and <a href=\"https:\/\/www.youtube.com\/watch?v=1ry0g4W0_ZI\" target=\"_blank\" rel=\"noopener noreferrer\">hall-of-fame<\/a> swearer Dennis Farina.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"The Great Escape (1963) Official Trailer - Steve McQueen Movie\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/r9Q_WESQUVw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018The Great Escape\u2019 (1963)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/special-presentations#2657\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Thursday, Feb. 27, 4070 Vilas Hall<\/em><\/a><\/p>\n<p>Steve McQueen is a Hollywood icon whose effortless coolness was immortalized by <a href=\"https:\/\/www.youtube.com\/watch?v=UVpyEyeULlQ\" target=\"_blank\" rel=\"noopener noreferrer\">a great Drive-By Truckers song<\/a>. But McQueen was also a great actor, and one of the first big-screen action stars. And before <em>Bullitt <\/em>or <em>The Thomas Crown Affair<\/em>, there was <em>The Great Escape<\/em>. Directed by John Sturges and arguably McQueen\u2019s best film, <em>The Great Escape <\/em>is a prison break drama that also features some of the actor\u2019s best stunts. (Did someone say \u201cmotorcycle jump\u201d?) Likewise, the WWII-set film boasts an ensemble cast that includes James Garner, Richard Attenborough, James Coburn and Charles Bronson.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"Jean-Michel Basquiat in DOWNTOWN 81 [Official Trailer]\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/pZ6qzDnQzGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018Downtown 81\u2019 (2000)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/sunday-cinematheque-chazen#2663\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Sunday, March 1, Chazen Museum of Art<\/em><\/a><\/p>\n<p>Shot in NYC in the early 1980s, this film directed by Edo Bertoglio is a time capsule of post-punk bohemianism. Written by future <em>GQ <\/em>\u201c<a href=\"https:\/\/www.gq.com\/about\/glenn-obrien\" target=\"_blank\" rel=\"noopener noreferrer\">Style Guy<\/a>\u201d Glenn O\u2019Brien and starring late artist Jean-Michel Basquiat, <em>Downtown 81<\/em> meanders its way through the era\u2019s hipster subculture as Basquiat interacts with luminaries like Blondie\u2019s Debbie Harry and original <em>Yo! MTV Raps <\/em>host Fab 5 Freddy. It was abandoned shortly after being completed but got a proper release in 2000 after O\u2019Brien re-acquired the rights to it.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"Bone Tomahawk Official Trailer #1 (2015) - Kurt Russell, Patrick Wilson Movie HD\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/0ZbwtHi-KSE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018Bone Tomahawk\u2019 (2015)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/s-craig-zahler#2673\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Saturday, March 14, 4070 Vilas Hall<\/em><\/a><\/p>\n<p>S. Craig Zahler does not make movies for the squeamish. His films are brutal, bloody and at times a challenging watch. But for those with the stomach, the writer\/director is the closest thing that modern cinema has to a new John Carpenter: a spooky auteur. (Like Carpenter, Zahler even composes his own unsettling music.) <em>Bone Tomahawk<\/em> was Zahler\u2019s directorial debut, and it makes a strong first impression. In this western horror hybrid, Kurt Russell, Richard Jenkins, Patrick Wilson and Matthew Fox set out to find an indigenous tribe of cannibals who\u2019ve kidnapped two white settlers. <em>Bone Tomahawk <\/em>will put you on the edge of your seat and then shock you right out of it.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"Brawl In Cell Block 99 Official Trailer #1 (2017) Vince Vaughn, Jennifer Carpenter Thriller Movie HD\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/5hfAExhHTMM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018Brawl in Cell Block 99\u2019 (2017)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/s-craig-zahler#2679\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Saturday, March 21, 4070 Vilas Hall<\/em><\/a><\/p>\n<p>Another of Zahler\u2019s symphonies of destruction, <em>Brawl in Cell Block 99<\/em> features what I consider the most brutal kill I\u2019ve ever seen on film. I won\u2019t give it away, but you\u2019ll know it when you see it. Vince Vaughn plays Bradley, a soft-spoken drug mule whose his wife (Jennifer Carpenter) and unborn child will be murdered unless he takes out a specific someone inside a maximum-security prison. And Vaughn steals the show, delivering one of the best performances of his varied career. But the one-time wedding crasher has always had a knack for playing simmering lunatics; check out his work in the underrated \u201990s indie <a href=\"https:\/\/www.youtube.com\/watch?v=ySk5beQvAis\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Clay Pigeons<\/em><\/a> for further evidence. And as an added bonus, Zahler\u2019s co-composer Jeff Herriott (a UW-Whitewater music professor) will participate in a discussion following the screening.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"New trailer for Orph\u00e9e - back in cinemas 19 October | BFI\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/9ciOWebRF3Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018Orph\u00e9e\u2019 (1950)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/sunday-cinematheque-chazen#2681\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Sunday, March 22, Chazen Museum of Art<\/em><\/a><\/p>\n<p>When I was in film school (yeah, I\u2019m one of <em>those <\/em>assholes), I took a whole class about movies based on the myth of Orpheus. One of the most memorable of those was <em>Orph\u00e9e<\/em>, a retelling of the tale by French master Jean Cocteau. Here, the Greek fable gets an update for the 20th century, changing the setting to post-WWII France. It\u2019s a stylish, sophisticated take on a story that\u2019s ostensibly about the inevitability of death. It\u2019s also the second part of Cocteau\u2019s Orphic trilogy, which includes 1930\u2019s <em>Blood of a Poet <\/em>and 1960\u2019s <em>Testament of Orpheus<\/em>.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"Barking Dogs Never Bite - Trailer\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/nFnr0IxfVhM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018Barking Dogs Never Bite\u2019 (2000)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/sunday-cinematheque-chazen#2686\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Sunday, March 29, Chazen Museum of Art<\/em><\/a><\/p>\n<p>Bong Joon-ho is in the middle of serious Oscar buzz thanks to his gonzo class satire <a href=\"https:\/\/www.youtube.com\/watch?v=5xH0HfJHsaY\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Parasite<\/em><\/a>. It\u2019s the latest in the director\u2019s unimpeachable filmography, which includes <em>Snowpiercer<\/em>, <em>Okja<\/em> and <a href=\"https:\/\/www.youtube.com\/watch?v=1HRTy26s4hw\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The Host<\/em><\/a>, which I consider to be the greatest creature feature ever made. <em>Barking Dogs Never Bite<\/em>, his directorial debut, is a literal starting point for budding Bong-heads. It\u2019s about a down-on-his-luck college professor who starts kidnapping dogs in his apartment complex to stop the constant barking while a young woman who works in the building slowly catches on and investigates.<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 40px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<p><iframe loading=\"lazy\" title=\"THE COTTON CLUB ENCORE - In Select Theaters October 11\" width=\"689\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/6-5j3DBmmR4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<span class=\"\" style=\"display:block;clear:both;height: 0px;padding-top: 5px;border-top-width:0px;border-bottom-width:0px;\"><\/span>\n<h3>\u2018The Cotton Club Encore\u2019 (1984\/2017)<\/h3>\n<p><a href=\"https:\/\/cinema.wisc.edu\/series\/2020\/spring\/special-presentations#2702\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Friday, April 24, 4070 Vilas Hall<\/em><\/a><\/p>\n<p>Francis Ford Coppola\u2019s filmography is a confusing one. While the notoriously finicky director was responsible for classics like <em>The Godfather<\/em> and <em>Apocalypse Now<\/em>, he also farted out a few head-scratching misfires. <em>One from the Heart<\/em>, <em>Jack<\/em> and <em>Twixt<\/em> are all dark spots on Coppola&#8217;s otherwise sterling resume. <em>The Cotton Club <\/em>falls somewhere in between those two categories. It was a commercial flop, and the set was a coke-fueled mess. Worse still, many of the film\u2019s black performers had their scenes <a href=\"https:\/\/www.rollingstone.com\/movies\/movie-features\/the-cotton-club-encore-review-francis-ford-coppola-896695\/\" target=\"_blank\" rel=\"noopener noreferrer\">cut at the whim of a financier<\/a>. But in 2015, Coppola decided to revisit the film and dropped $500,000 to restore it with new footage, much of it featuring those spurned artists. The result is <em>The Cotton Club Encore<\/em>, a longer version of the 1984 movie that <em>Vanity Fair<\/em> <a href=\"https:\/\/www.vanityfair.com\/hollywood\/2019\/10\/francis-ford-coppola-the-cotton-club-encore-review\" target=\"_blank\" rel=\"noopener noreferrer\">called<\/a> a \u201cnobler, fuller, and of course more righteous film than it\u2019s marred predecessor.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Looking to break away from the remakes, reboots and endless sequels dominating your local multiplex? Then you\u2019re in luck: UW Cinematheque has released its spring schedule. The slate features a [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":17865,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[5155],"tags":[11528,19,377,881,8768,2550],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.3 (Yoast SEO v18.5.1) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>10 standout films from Cinematheque&#039;s spring schedule - The Bozho<\/title>\n<meta name=\"description\" content=\"UW Cinematheque&#039;s new schedule features a wide array of films, including series on directors Federico Fellini, S. 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