The second installment of this year’s Rooftop Cinema surveys recent collage films with techniques including cut-out animation, filmstrip manipulation, and archival footage montage.
An ebullient, richly textured and visually spectacular meditation on love, Mira Nair’s Monsoon Wedding unites high production values and low-budget ingenuity, while sweeping us into the choreographed chaos of its colorful world.
Rooftop Cinema kicks off its 2018 season with two memorable celebrations of movement and dance.
An expansive, flamboyant and all but apocalyptic look at the underbelly of café society, Federico Fellini’s La dolce vita captures the alluring emptiness of our image-saturated consumer culture nearly sixty years after its premiere.
In his Cinesthesia program notes, Jason Fuhrman traces the evolution of Stanley Kubrick’s 2001: A Space Odyssey from a nascent speculation on humanity’s role in the cosmos to a monumental work of cinematic poetry that permanently altered movies and our collective imaginations.
In his Cinesthesia program notes, Jason Fuhrman explains how If….,Lindsay Anderson’s controversial and surreal portrait of boarding school life, overcame many obstacles to reach British screens and became an essential film of the 1960s.
In his Cinesthesia program notes, Jason Fuhrman explains how Robert Altman took the tragic tale of a stubborn gambler and a feisty madam and reinvented the modern western with his 1971 classic, McCabe and Mrs. Miller.
Attend: Program Notes Magnolia | Paul Thomas Anderson | US | 1999 | 188 minutes Cinesthesia, Madison Public Library Central Branch, Thursday, January 4, 5:30pm» In his Cinesthesia program notes, Jason Fuhrman suggests that the bold stylistic flourishes on display in Paul Thomas Anderson’s Magnolia reflect a filmmaker at a turning point in his artistic development. […]
In his Cinesthesia program notes, Jason Fuhrman suggests that Alfonso Cuarón’s dystopian thriller Children of Men has become even more relevant ten years after its release.
In his Cinesthesia program notes, Jason Fuhrman celebrates the near-perfect achievement of Terrence Malick’s second feature, Days of Heaven.