ABOUT THE CINEMATHEQUE

The Cinematheque represents UW-Madison academic departments and student film groups and is dedicated to showcasing the best in international cinema history and fine films which would otherwise never reach Madison screens. As the screening facility of the Wisconsin Center for Film and Theater Research (WCFTR) and a member of the International Federation of Film Archives (FIAF), the Cinematheque regularly showcases archival and other rare prints from around the world. The Cinematheque screens films while the University is in session during the Fall and Spring semesters and for four to five weeks during the summer. The Cinematheque has one of the finest projection facilities in Wisconsin and screens a variety of formats, including DCP (Digitial Cinema Package), 35mm and 16mm (both on reel-to-reel projection systems), and multiple standard and high definition video formats. It is the Cinematheque's policy to screen films only in the best available versions in the correct aspect ratio, and, if silent, at the appropriate speed and with musical accompaniment. Funding has been provided by generous grants from the Anonymous Fund, as well as support from the Chazen Museum of Art. Special thanks to Interim Dean John Eric Wilcots, Associate Dean Susan Zaeske, and the College of Letters and Science for their continued support.

ADMISSION

All Cinematheque screenings are free and open to the public on a first-come, first-seated basis. Doors open thirty minutes before showtime. In consideration of our audiences, no one will be admitted 15 minutes after the scheduled start time of any program. Donations are accepted at the door or through our website (http://cinema.wisc.edu/donate). Tax-free charitable donations can be made to the Friends of Film Fund.

WHEELCHAIR ACCESS

For wheelchair access to 4070 Vilas Hall, please provide 24 hour notice by writing info@cinema.wisc.edu or call 608-262-3627.

PRINT SOURCES/ACKNOWLEDGMENTS

January-May 2022 programming would not have been possible without invaluable assistance from our friends: Sarah Beckham; David Bordwell; Kelley Conway; Margaret & Jillian Gordon; Erik Gunneson; Grady Hendrix; Eric Hoyt; Mary Huelsbeck; Lea Jacobs; Christina King; Darshana Midi; Keith Phipps; Chris Poggiali; Ashling Quinn; Patrick Rumble; Jame Runde; Robin Schmoldt; Peter Sengstock; Scot Shepley; Jeff Smith; Alberto Vargas; Candie Waterloo; Sarah Wells; Cheunghsuan Wu. For providing film prints and DCPs, we thank the following: Academy Film Archive (Edda Manriquez); Altered Innocence (Frank Jaffe); American Genre Film Archive (Bret Berg); Arebelos Films (David Marriott); Big World Pictures (Jonathan Howell); Canyon Cinema (Seth Mitter); Cineteca di Bologna (Carmen Accaputo); Criterion Motion Pictures (Brian Fox); Donut Dollies (Jim Gardner); Dan Halsted; IFC Films (Danielle Freiberg; Jasper Basch); Janus Films (Brian Belovarac); Kino Lorber (George Schmalz); Library of Congress (Lynanne Schweighofer); Metrograph (William Gruenberg); Michael Tuckman Media (Michael Tuckman); Museum of Modern Art (Dave Kehr, James Layton; Katie Trainor); Music Box Films (Kyle Westphal); Park Circus (Chris Chouinard); Rialto Pictures (Eric DiBernardo, Adrienne Halpern); Rowdy Pictures (Amudhavan Karuppiah); Sony Pictures Classics (Michael DiCerto); Swank Motion Pictures (Randy Andrews & Dana Hillyer); UCLA Film & Television Archive (Steven Hill, Todd Weiner); Universal Pictures (Jason Jackowski); Variance Films (Dylan Marchetti); Wisconsin Center for Film & Theater Research (Amanda Smith); Yale Film Archive (Brian Meacham).

PROGRAM DESCRIPTIONS

Unless otherwise noted, calendar notes written by Jim Healy. Additional writing by Ben Brewster (BB), Mike King (MK), and Ben Reiser (BR).