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Tone Glow

@toneglow

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A publication dedicated to music, film, and more. Account run by @misterminsoo.
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HELLO FRIENDS my final screening is at 5:30 PM tonight 💛 I slept for 36 hrs and am awake just in time to post this sweet and chatty interview I had with @misterminsoo 🩵🩵 for @toneglow a couple of weeks ago!! I reread it last night and it made me want to cry 🥹 (in a good way). I blab a lot, but John described it as being able to read my thoughts as they come out of my head. As someone who normally struggles to find the words in the moment, I really love that!!!! 🙂 ENJOY 🙂🙂 Link is in bio and here: https://toneglow.substack.com/p/film-show-072-yuula-benivolski by @toneglow
26
14 days ago
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UPDATE: Tone Glow is cancelling its upcoming Nirosta Steel shows. Ticket holders will be reimbursed. by @toneglow
0
a month ago
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NIGHT TWO @ HIDEOUT CHICAGO! TWO SHOWS ADDED BE THERE AND BE SQUARE! TIX ON SALE @hideoutchicago FRIDAY 10AM CT! MEET THE URBANA COWBOYS! (poster design by @mouthshapedletter) by @toneglow
28
2 months ago
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Tone Glow is excited to present “I’ll Walk With God,” a screening of nine 16mm experimental short films that grapple with mortality and death. This event was curated by Kerry Laitala, an award-winning moving-image artist who uses analog, digital, and hybrid forms to investigate how media influences past and present culture through science, history, and technology. The event will feature five of her shorts made between 1997 and 2026, including a work-in-progress reel of her new film THE CAT LANDS ON ALL FOURS. The program will also feature works by artists who have influenced her: Gunvor Nelson, Chick Strand, Phil Solomon, and Scott Stark. With hand-processed filmic practices, mystifying collage work, and intimate depictions of family members, “I’ll Walk With God” offers numerous avenues to consider life, film, and their outer limits. All films will be shown on 16mm. Laitala will be present in person. Doors 6:30, Screening at 7. Tickets at link in bio. Special thanks to @chromakitten, @canyoncinema, @elasticarts, and @creechlikesthisone. 1. Kerry Laitala, Retrospectroscope (1997, b&w, silent, 5 mins) 2. Chick Strand, Kristallnacht (1979, b/w, sound, 7 mins) 3. Kerry Laitala, Hallowed (2002, color, sound, 11 mins) 4. Scott Stark, I’ll Walk With God (1984, color, sound, 8 mins) 5. Kerry Laitala, Figments in Film, Number One (2019, color, sound, 8 mins) 6. Phil Solomon, The Snowman (1995, color, sound, 8 mins) 7. Kerry Laitala, Phantogram (2008, b&w, silent, 8 mins) 8. Gunvor Nelson, Time Being (1991, b&w, silent, 8 mins) 9. Kerry Laitala, The Cat Lands on All Fours [WIP Reel #2] (2026, color, silent, 5 mins) TRT = 68 mins by @toneglow
2
2 months ago
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Tone Glow is excited to present “River of Stars,” a two-program retrospective of works by Bruce Wood (b. 1951). Wood is a Massachusetts-based painter whose love for the avant-garde maestros Stan Brakhage and Robert Breer led to his own interest in filmmaking. He moved to Chicago in the 1970s so he could study under Brakhage, and soon thereafter had a short but prolific stretch of years constructing monochromatic works that both reduced and magnified images into dazzling portraits of light and rhythm. These works of pure abstraction present film in its purest sense, encouraging a surrendering to its various figures—blobs and stripes, shadows and specks—in all their sensuous beauty. This rare screening presents nine highlights from his filmography, including a newly struck print for his early work 1975 SKETCHES. Wood’s films haven’t been shown in Chicago since 2009, and this event provides an opportunity to get a glimpse of Chicago’s overlooked history of experimental film. All films will be shown on 16mm. A screening of his works will take place in Pittsburgh on Sunday, August 2nd at The Glitterbox Theater. Another screening will take place in Chicago on Wednesday, August 12th at Elastic Arts. Tickets at link in bio. Trailer + interview with Bruce Wood also at link in bio. Special thanks to @brucewood500, @pghsoundandimage, @theglitterboxtheater, @elasticarts, @andr91394, Forrest Sprague, and @creechlikesthisone. Program 1: 1. ACE Number 5 (Red Version) (1974, color, silent, 8 mins) 2. 1975 Sketches (1975, color, silent, 3 mins) 3. River of Stars (1975, b&w, silent, 10 mins) 4. Arctic Desire (1976, b&w, silent, 7 mins) 5. Island Design (1976, b&w, silent, 6 mins) 6. Silver Traces (1976, b&w, silent, 6 mins) TRT = 40 mins Program 2: 1. Airless Passage (1976, b&w, silent, 13 mins) 2. The Smell of Death (1977, b&w, silent, 16 mins) 3. Edge Forces (1976, b&w, silent, 11 mins) TRT = 40 mins by @toneglow
2
2 months ago
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🎞️ This Sunday on 16mm 🎞️ Bruce Wood (b. 1951) is a Massachusetts-based painter whose love for the avant-garde maestros Stan Brakhage and Robert Breer led to his own interest in filmmaking. He moved to Chicago in the 1970s so he could study under Brakhage, and soon thereafter had a short but prolific stretch of years constructing monochromatic works that both reduced and magnified images into dazzling portraits of light and rhythm. These works of pure abstraction present film in its purest sense, encouraging a surrendering to its various figures—blobs and stripes, shadows and specks—in all their sensuous beauty. This rare screening presents nine highlights from his filmography, including a newly struck print for his early work 1975 SKETCHES. Co-presented by @toneglow. This Sunday at 6:00 PM at @theglitterboxtheater, we're joined by writer and film programmer @misterminsoo for RIVER OF STARS: BRUCE WOOD'S EXPRESSIONIST ABSTRACTIONS. Tickets at the link in our bio! by @toneglow
0
2 months ago
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Tone Glow is excited to present “Perceptual Ambiguity,” a screening highlighting four works on 16mm by Pat O’Neill (b. 1939). O’Neill is an American artist and pioneering figure in LA’s experimental film scene. As a teenager, he became enamored with pinstriper Von Dutch, eventually becoming involved with car culture himself through building automobiles. While he engaged in surrealist painting at UCLA, he found that his interests more readily aligned with sculpture due to his fascination with material and process. Filmmaking proved an ideal medium, too: with self-built printers and war-surplus equipment, he crafted dazzling collages that revealed his love for the Californian landscape and, in particular, the Great Basin. His work with optical printers made him a luminary in the world of special effects, eventually working on the original STAR WARS series. O’Neill was inspired by a variety of mid-20th-century visual art, from Wally Berman’s assemblages to Craig Kauffman’s sculptures, but it was the experiential work of James Turrell’s room installations and Michael Snow’s LA RÉGION CENTRALE (1971) that proved especially illuminating. O’Neill admired the increasing malleability of subject matter—of light and camera movement as subject, or how pop art reduced subject into logo—and his own works followed suit. Intentionally non-narrative and oblique, his works strove to have “the illusion and the denial of the illusion” being “present at the same time,” which he accomplished through his printers’ conjuring of filmic magic, from travelling mattes to color modulations. This screening presents three early shorts that depict both the arduous nature of his practice and his playful, non-academic spirit: EASYOUT (1972), SAUGUS SERIES (1974), and SIDEWINDER’S DELTA (1976). The night concludes with his magnum opus, the sprawling city symphony WATER AND POWER (1989). Tickets at link in bio. All films shown on 16mm. Special thanks to @canyoncinema, @elasticarts, and @creechlikesthisone. Program 1 at 7PM 1. Easyout (1972, 9') 2. Saugus Series (1974, 19') 3. Sidewinder’s Delta (1976, 21') TRT = 49 mins Program 2 at 8PM 1. Water and Power (1989, 55') TRT = 55 mins by @toneglow
2
3 months ago
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Tone Glow is excited to announce “Hitching a Ride with the Devil,” a showcase of four works on 16mm by filmmaker Michael Wallin (1948-2016). A longtime Bay Area resident and key figure in Canyon Cinema’s history, Wallin’s mentor and primary inspiration was Bruce Baillie. One of Wallin’s early films in this screening, TALL GRASS (1980), exhibits that influence through its home-movie charm and nostalgic remembrances of Mendocino, California. Beyond Baillie, Wallin was invigorated by the films of Kenneth Anger and Andy Warhol, interested in creating art that could “challenge and provide access for anyone to enter and find themselves.” The second film in this program, ALONG THE WAY (1983), is part of his “topological triptych,” concerning itself with the “essential quality of ‘place,’ which is always an amalgam of the visual and emotional.” Wallin became a psychotherapist later in life with a particular interest in the psychosexual. While he didn’t see his work as a therapist and filmmaker as intertwined, he acknowledged that both jobs required adopting the position of an observer. In 1975, he released his landmark gay film THE PLACE BETWEEN OUR BODIES, shown last year in Tone Glow’s queer films program. With this event, two more of his directly gay films arrive in DECODINGS (1988) and BLACK SHEEP BOY (1995), both recently preserved by Canyon Cinema. DECODINGS is Wallin’s sole found-footage film, presenting a search for one’s identity, while BLACK SHEEP BOY finds Wallin in his 40s, depicting his most mature exploration of gay sexuality and desire. The title of this program comes from a 1993 interview with the Bay Area Reporter. In it, Wallin explains the ideas underpinning BLACK SHEEP BOY: “I see the film as very sex positive, gay positive, and it sort of traffics in the notions of what’s beautiful, what’s our composite sexual fantasy, what are those elements.” Tickets at link in bio. Special thanks to @canyoncinema, @elasticarts, and @creechlikesthisone. Program: 1. Tall Grass (1980, color, silent, 12 mins) 2. Along the Way (1983, color, sound, 20 mins) 3. Decodings (1988, color, sound, 15 mins) 4. Black Sheep Boy (1995, color, sound, 37 mins) TRT = 84 mins by @toneglow
0
3 months ago
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Tone Glow Film Festival concludes with an after party. This screening features two works by Anthony McCall. LINE DESCRIBING A CONE (1973) is what the British artist calls a “solid light film,” as the primary experience of the work is with the projected light beam. “The film exists only in the present: the moment of projection. It refers to nothing beyond this real time,” he’s said. “No longer is one viewing position as good as any other. For this film every viewing position presents a different aspect. The viewer therefore has a participatory role in apprehending the event: he or she can—indeed needs to move around, relative to the emerging light-form.” A similar work, CONICAL SOLID (1974), will also be shown. Additional short-form works will also be shown throughout the event. Smoking is permitted, even encouraged. Program: 1. Line Describing a Cone (Anthony McCall, 1973, 30 mins) [16mm] 2. Conical Solid (Anthony McCall, 1974, 10 mins) [16mm] TRT = 40 mins + Additional Surprises Sunday, May 24th at 11:30pm @publicworksgallery (2141 W North Avenue) Films provided by @canyoncinema 🎟️ Tickets at link in bio by @toneglow
5
4 months ago
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CHRONOVISOR (2026) is the most brilliant American feature film debut of the decade. Inspired by the titular invention—a device that Italian Benedictine monk Pellegrino Ernetti used to allegedly view the Crucifixion of Jesus Christ—CHRONOVISOR follows the French academic Beatrice Courte (Anne Laure Sellier) as she navigates a labyrinthine sprawl of information found in books, video footage, and more. In the lineage of works by Umberto Eco and Jorge Luis Borges, Kevin Walker and Jack Auen invite viewers to follow Courte in her impassioned quest of discovery through ample amounts of onscreen text, the effect similar to viewing films by Michael Snow and David Gatten. CHRONOVISOR is shot on gorgeous 16mm and soundtracked by Gustav Holst, providing a vivid portrait of New York City’s historic libraries but also specific phenomena that are rarely conveyed in film successfully: the all-consuming rabbit holes that research draws us into, and the subtle allure of conspiratorial thinking. CHRONOVISOR will be preceded by Park Kyujae’s MUR DE L’ATELIER (2023-2026), a short-form, black-and-white, hand-processed 16mm film poetically depicting flora and interior spaces. 1. Mur de l’atelier (Park Kyujae, 2023-2026, 10 mins) 2. Chronovisor (Kevin Walker & Jack Auen, 2026, 99 mins) TRT = 109 mins Sunday, May 24th at 7:30pm @chicagofilmmakers (1326 W Hollywood Ave.) Films provided by the directors and @ghopperfilm 🎟️ Tickets at link in bio by @toneglow
3
4 months ago
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David Gatten (b. 1971) is an American filmmaker whose works are deeply concerned with materiality, the written word, and the ways in which printed communication can be polysemic and prismatic when presented in a filmic context. This program highlights works from his FILM FOR INVISIBLE INK series, where minimalist aesthetics collapse image and text. The final film in the series was made for his wedding to the writer, filmmaker, and video artist Erin Espelie. These works are preceded by SHRIMP BOAT LOG (2010), a work featuring shrimp boats on the Edisto River, the images guided by Leonardo da Vinci’s own notebooks. Program: 1. Shrimp Boat Log (David Gatten, 2010, 6 mins) [16mm] 2. Film for Invisible Ink, Case No. 71: Base-Plus-Fog (David Gatten, 2006, 10 mins) [16mm] 3. Film for Invisible Ink, Case No. 142: Abbreviation for Dead Winter [Diminished by 1,794] (David Gatten, 2008, 13 mins) [16mm] 4. Film for Invisible Ink, Case No. 323: ONCE UPON A TIME IN THE WEST (David Gatten, 2010, 20 mins) [16mm] TRT = 49 mins Sunday, May 24th at 6:00pm @chicagofilmmakers (1326 W Hollywood Ave.) Films provided by @canyoncinema 🎟️ Tickets at link in bio (Tickets are currently discounted to $15) by @toneglow
0
4 months ago
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This collaborative program between Tone Glow & Block Cinema gathers three filmmakers whose eccentric paths shared concerns for the cinematic evocation of place and spirit. ALABAMA DEPARTURE (1978), co-directed by Peter Bundy & Bryan Elsom, is a tapestry of small towns in southern Alabama: Coffeeville, Banks & Dauphin Island. Through gentle portraits of these landscapes, the film encourages a mode of viewing and listening that draws connections between humans, the natural world, the music they both create, and the environments that bind them. In THE GRANDFATHER TRILOGY (1979-1981), the trio of short films that came to define his legacy, late Chicago filmmaker Allen Ross crystallized an austere but unmistakably personal cinema rooted in time, place, and family. As plain as dirt and as rich as soil, PAPA (32 min) is built up from stark black-and-white 16mm compositions that frame the filmmaker’s land-working grandfather at peculiar angles, often casting a glance pensively to the beckoning earth. The mundane family conversations and afternoon naps captured in THANKSGIVING, 1979 linger in the incandescent light of unhurried time—even as a background TV broadcast delivers unsettling reports on the unfolding hostage crisis in Iran. Ross pivots to reflect on the ephemerality of life and the finality of death in the last of the shorts, BURIELS. Cast in an aching blue hue, the film attends to the banal conventions of grief with pure reverence. At once materialist and spiritual, THE GRANDFATHER TRILOGY reflects the influence of avant-garde filmmaker Robert Fulton, with whom Ross studied while attending the School of the Art Institute of Chicago. For PATH OF CESSATION (1974), Fulton traveled to Tibet, gathering impressions in the form of both meditative long takes and swirling superimpositions. Program: 1. Alabama Departure (Peter Bundy & Bryan Elsom, 1978, 9 mins) 2. Path of Cessation (Robert Fulton, 1974, 15 mins) [16mm] 3. The Grandfather Trilogy (Allen Ross, 1981, 60 mins) [16mm] TRT = 84 mins Sunday, May 24th at 2:00pm @nublockmuseum (40 Arts Cir Dr.) Films provided by @chicagofilmmakers, @walkerartcenter, and @canyoncinema 🎟️ Free event, RSVP at link in bio by @toneglow
1
4 months ago
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