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Critics' Picks




It's been a while since the heyday of cabaret, but you'd never know it from Rae Hering's repertoire. She's been in Nashville for six years, and her musical surroundings have yet to influence her to lean on guitar — jazzy, nimble piano is her thing, and accordion, vibraphone and horns provide accompaniment — or to write songs in linear verse-chorus-verse form. On her debut EP, Reality Over My Head, Hering takes her cues from Kate Bush and Liza Minnelli, unfurling scenes and characters that are intended to be larger than life with vivid, theatrical twists and turns. In "Top Hat Acrobat," which evokes Astrud Gilberto one minute and Steely Dan the next, she purrs, belts and coos over a suave lounge groove about a fantastical miniature daredevil. That's a fittingly flexible image for a performer like Hering. 9 p.m. at The Basement JEWLY HIGHT


This show opened a few weeks back during the Art After Hours festivities, on one of the chilly, rainy evenings we've come to expect this winter. A light turnout proved to be a boon for patrons and friends who braved the cold to see a dynamic collection of work from a handful of gallery favorites. With those on hand finding room to graze and time to gaze, a number of familiar prints and paintings by Patrick DeGuira and Brady Haston found new, different lives alongside the latest work from John Folsom and Tim Hussey, whose ongoing output of drawn and painted portraits and narratives continues to yield rough, messy, process-pressured diamonds. John Folsom's multimedia prints combine photographs of tornadoes with geometric elements, capturing a kind of calm before the storm. Catch this one before it closes. Through Feb. 27 at Zeitgeist Gallery JOE NOLAN


Tulsa-based painter Michelle Firment Reid says of her latest collection, "I paint what I feel, desire and know." The process of translation from thought to painting travels directly through the mind's language centers in Tender, which runs through March 20. "Darling, Please Don't Stop Your Talking" sets white script against a shadowy field and a spectral column of light. Some of the canvases resemble large palimpsests. In her mixed-media work "Wide Awake," gestural brushstrokes evoke handwriting that's been rended, revised and subsumed by plumes of color — all the layered traces of restless thought compressed into a single abstracted surface. Reid will attend the reception. Through March 20 at Gallery One STEVE HARUCH


Ellison's bestselling debut All the Pretty Girls introduced us to Taylor Jackson, a blond-haired, hard-boiled, seemingly made-for-TV Nashville homicide detective. In The Cold Room, the fourth book in the Jackson series, Scotland Yard inspector James Highsmythe joins the detective and her sidekick/fiancée, FBI profiler Dr. John Baldwin, in the search for a particularly gruesome villain. In seemingly related cases in Europe and Tennessee, a serial killer is sealing women in a glass coffin before having sex with them and using their corpses to recreate famous works of art. This disquieting turn on the Sleeping Beauty story is typical of Ellison, a former White House staffer whose obsession with forensics has led to working relationships with Metro Police and the FBI. Ellison will sign The Cold Room. 7 p.m. at Davis-Kidd PAUL V. GRIFFITH


While you can quibble about the quality of Phish's songwriting, it's hard to deny that Trey Anastasio is the undisputed heir to Jerry Garcia's jam-god throne, taking Garcia's improvisatory approach (mined from equal parts rock, bluegrass and jazz) and transforming it into a unique, compelling voice. Though there are plenty of other, uh, buzz-worthy jam-band ax-wielders, only Widespread Panic latecomer Jimmy Herring gives Anastasio a run when it comes to creativity and musicianship. (And dude, it ain't about competition. We're all beautiful in our own way, right?) Anastasio's flirtations with symphonic music have met with mixed reactions — Phish-heads were noticeably impatient during his first-set collaboration with Nashville Chamber Orchestra at Bonnaroo 2004 — so most fans will be glad to know he's left the strings at home. He's doing this tour with Classic TAB, featuring his original solo-band rhythm section along with keys and horns. And for you road dogs coming to the Ryman for the first time, get your head right before entry — this is the Mother Church of Country Music, not some Manchester cow pasture, and the powers that be aren't nearly as forgiving. 7:30 p.m. at the Ryman JACK SILVERMAN


Greg Giraldo has appeared countless times on both of the now-defunct Comedy Central series Root of All Evil (with Lewis Black) and Tough Crowd (with Colin Quinn) as well as every notable show on the late-night circuit. He has released stand-up specials and full-length comedy albums — his latest, Midlife Vices, was hailed as last year's very best by Punchline magazine. He's even among the most brutal of Comedy Central's notorious celebrity-roasters. The last thing you might expect to hear about this member of cable television's semi-elite stable of potty-mouthed comics is that he's an Ivy League man — but he is. Giraldo received his undergraduate degree from Columbia and graduated with flying colors from Harvard Law School. For all the outrageous vulgarities and juvenile references, a discernable degree of social awareness and thoughtfulness exists in Giraldo's material. Sure, you might hear a handful — ahem — of dick jokes in his routine, but you'll likely walk away having learned a little something as well. Even from the dick jokes. Through Feb. 27 at Zanies D. PATRICK RODGERS


The "Vandy Moms Lunch and Learn" lecture series is open to all moms looking for like-minded camaraderie. The topic du jour — "why it's important not to let our self-esteem get mixed up with what's on the magazines" — is a timely one, given that "before" pictures from photo shoots with models and actresses are leaked online with near clockwork regularity these days. It seems someone is all too happy to let us know that Demi Moore and Madonna aren't quite so wrinkle-free as they, the lady mags and their advertisers would have us believe — and, lest you think it's just the routine airbrushing anyone's complaining about, just Google "Photoshop + Ralph Lauren" for an idea of today's stakes. Meanwhile, feminist sites such as Jezebel and Double XX routinely scrutinize the glossies for signs of Frankenstein-like manipulation. It's hardly shocking that they find proof of extensive lifting, smoothing and slimming; what's troubling is how rarely they don't find any such evidence. Their question: Since it's now so very easy to disprove the veracity of the photos of these luminaries — nearly all of whom are legitimately attractive in their human, non-alienized skin — why keep up the pretense? Perhaps this lecture's guest speaker, master retouch artist Julie Turner Schellhardt (whose work has appeared in Vogue and Cosmo, among others) will have an idea. 11:30 a.m. at Vanderbilt's Baker Building, Suite 850 TRACY MOORE


If Sir Neville Marriner's only achievement were founding the famed Academy of St. Martin's in the Fields, that alone would stamp him as a major figure in classical music. But his numerous feats as a performer and conductor are equally impressive. After being a violinist with both the London Symphony Orchestra and Martin String Quartet for 13 years, he became the Los Angeles Chamber Orchestra's first music director. Marriner has led top orchestras around the world, making acclaimed recordings in every style from baroque and opera to 20th century British classical music. He also chose the Mozart selections for the soundtrack of the film Amadeus. This week Marriner will conduct the Nashville Symphony Orchestra in a very special program spotlighting works of British composers William Walton (Henry V: A Shakespeare Scenario) and Vaughn Williams (Symphony No. 2 in G major: A London Symphony). Special guests include the Blair's Children's Chorus with director Hazel Somerville, the Nashville Symphony Chorus directed by George Mabry — and in a treat for film fans, '70s matinee idol Michael York, of Cabaret and Logan's Run renown, who will provide narration. 7 p.m. at Laura Turner Concert Hall, One Symphony Place RON WYNN



It's hard to keep a good band down. Local pop-rock crafters The Silver Seas have been trucking for more than 10 years and show little sign of throwing in the towel anytime soon. Gearing up to support their upcoming record Chateau Revenge — a narrative concept album exploring the fine line between love and failure — singer-guitarist Daniel Tashian has recruited a host of young Nashville talent, including folk-pop singer-songwriter Madi Diaz. Diaz, who will also be performing tonight, has earned her own numerous credentials and high praise. If it seems like The Silver Seas are passing the torch, it's because Diaz is one of the brightest voices to come along in quite some time. Filling out the night will be Nashville's own Conor Oberst-meets-Casio keyboards electro-pop engineer Kyle Andrews. All in all, each native act brings an equal amount of innovation and quirkiness to their pop artistry — helping push their songs beyond mere novelty. Attendees should expect a unique blend of acoustic, electronic and rock balladeering. 8 p.m. at Exit/In DEREK BARBER


When Chicago's Second City began to really feel its commercial oats in the 1970s, the famed comedy theater — which celebrated its 50th anniversary in 2009 — began to send out touring companies, mainly hitting colleges, community theaters, regional performing arts centers, even private corporate dates. This logically good idea afforded opportunities for up-and-coming players — who were, perhaps, not quite ready for the prime-time stage in the Windy City — to gain valuable experience while re-creating some of the classic scenes that helped to forge the parent company's reputation. This tradition continues — full disclosure: This writer did it for two years as a musical director in the '90s — but sometimes the traveling troupe will sprinkle its own original fare in with the sketches, games, blackouts and songs that were made famous in seasons past by giants ranging from Belushi, Murray and Farley to Carell, Colbert and Fey, names that really are only the tip of a very, very large American comedy iceberg. Spontaneous improv also gets thrown into the mix. Vanderbilt has had SC in before, and this ought to be a good, hip gig for everyone involved. 7 & 10 p.m. at Sarratt Student Center Cinema MARTIN BRADY


His pessimism barely concealed underneath layers of acoustic guitar and piano, Arlen Ivey writes country-pop songs that nod in the direction of The Beatles and Fleetwood Mac. On last year's full-length debut, The Iveys, the Texas songwriter joined with siblings Jessica and Jillian to create an oblique and subtly tortured examination of the various stages of regret. When it works, as with "Sometimes" and "Your Love Now," The Iveys makes good use of Arlen's arch, slightly affected tenor, which recalls Marc Bolan's. There's something strange and sublimated about the music that makes its pop ambitions seem irrelevant, and the singing — or at least the vocal mix — may be too weird for country audiences. Still, The Iveys benefit from all sorts of flourishes producer Ettore Grenci has tucked away in the margins. It's an involuted, intermittently fascinating record with plenty of subtext awaiting patient listeners. 7 p.m. at 12th & Porter; also appearing at Bluebird Cafe Feb. 28 EDD HURT


We've never really thought of Detroit as Southern Rock City, but here come The Deadstring Brothers representing Motown with slide guitars and Allmans-style boogie blazing. On their newest, Sao Paolo (Bloodshot), specifically "Houston" and "The River Song," singer-guitarist Kurt Marschke spurs the band to an uncanny approximation of the Stones in their raunchy '70s prime, while expanding their sound to encompass space-transmission blues and woozy, heartsick country balladry. Recommended to anyone who's ever worn out a cassette copy of Let It Bleed. 8 p.m. at Matty's Alley, 2410 Gallatin Ave. JIM RIDLEY


Prepare for a roaring evening of Jazz Age intrigue when Street Theatre Company and Tulip Street United Methodist Church team up to host a musical whodunit fundraiser benefiting both organizations. Chicken pasta is on the menu, and Just Tell 'Em Joe Sent Me is on the stage. Come hungry for conspiracies and choreography when murder unfolds among Rosie and the Million Dollar Gals. Elliot Robinson, Valerie Navarre, Shane Bridges, Janna Landry and Jessica Heim perform Friday and Saturday. Tickets are $20; tables of 10 are $180. Call 554-7414 or buy tickets online via Paypal. 7 p.m. Feb. 26-27 at 522 Russell St. CARRINGTON FOX


Willy Loman in a dinner-theater setting? Not since Kevin Kline in the film Soapdish has that idea been launched. Lipscomb University's theatre department will present the Arthur Miller classic 1949 Pulitzer Prize and Tony Award winner, and doubtless the play's requisite serious atmosphere will prevail over the reasonably priced menu. Especially with noted alums and experienced stage vets Jerry Henderson and Wesley Paine taking on the roles of Willy and Linda. Profound American theater pieces that critique capitalism by exposing its darker side always hold promise. Question is: Will Willy's soul-searching still ring with authority 61 years since he first revealed his angst? And will his malaise prevent you from finishing the soup course? Other cast members include Mike Fernandez and Larry Bridgesmith. This newest incarnation of "The Battle of the Boulevard" — Belmont University recently hosted Miller's other 1940s tragic groundbreaker All My Sons — is directed by Robyn Berg. Feb. 26-March 7, Shamblin Theatre at Lipscomb University MARTIN BRADY


Back in the late '90s, Chris Mitchell & the Collection were one of Nashville's top draws, with Mitchell strutting the stage in hot pants and boa, belting out disco classics to sold-out crowds. After a respite to conquer some personal demons, Mitchell has re-emerged over the last couple years, performing with his own band and with Jim Hoke and Randy Leago's Aquavelvet side project. Mitchell's recently out of the studio with a new album of more contemporary R&B and pop, Sing. Opening the show is his Aqua Velvet band mate Kristi Rose, at the helm of her hillbilly-noir band Pulp Country. Rose has a voice like Patsy Cline's saloonkeeper cousin and the mad-bad-and-dangerous-to-know presence of a Jim Thompson femme fatale. When she sings Bobbie Gentry's "Ode to Billy Joe," she makes it sound like she doesn't just know what Billy Joe McAllister threw off the Tallahatchee Bridge, she pitched him right in after it. 10 p.m. at 3rd & Lindsley JIM RIDLEY



Jason Boesel understands the nuances that help pop-rock take on an artful slant. He's spent several years as the drummer for Rilo Kiley, as well as band members' Jenny Lewis' and Blake Sennett's side projects, and for Bright Eyes and various other Conor Oberst recordings. Boesel steps out front for his first solo album, Hustler's Son, and it's an entertainingly confident country-rock effort. Never opting for tongue-in-cheek irony, Boesel creates a breezy album that focuses on his lyrics and voice — perhaps the last thing you'd expect from an indie-rock sideman. The playing has a jaunty looseness, but with plenty of clever touches and a nicely concise swing. Boesel opens for Corey Chisel in a bill focused on roots-flavored singer-songwriters. 9 p.m. at Mercy Lounge Michael McCall


Even if you don't know Alan LeQuire's name, you've probably seen the Nashville sculptor's work. His Athena at the Parthenon and his Musica in the Music Row roundabout are among the city's most public artworks. LeQuire's "Cultural Heroes" celebrates Black History Month and the intersection of the civil rights movement and American music history. The series of monumental clay heads depicts iconic artists including Bessie Smith, Lead Belly, Billie Holiday and Woody Guthrie. The latest in this series portrays seminal folk singer and guitarist Josh White, who rose from the Jim Crow South to become the U.S.'s first black musician to cut a million-selling record. The hugely influential White was also an activist, a friend to FDR and a victim of McCarthy-era blacklisting. Unveiling 11 a.m. at LeQuire Gallery; on display through March 27 RUSSELL JOHNSTON


After taking some time off due to inclement weather, Richard Trest, aka Ri'Chard, resumes his low-key writers series, gathering a gang of singer-songwriters to perform at his Whites Creek eatery, where the James Gang reportedly gathered back in the day. As a soundtrack to accompany the Louisiana-style menu, seven performers will each play a 25-minute set of original music. Dan Rivers opens, followed by Mark Cunningham, Whitney Rose, Paige Logan and Heather Looney, Paige Bainbridge, Addie Loy, and Brandi and Eddie. 6 p.m. at Ri'Chard's, 4420 Whites Creek Pike CARRINGTON FOX


Slow and low is the tempo, as a group of wise poets once said, but when you're talking about Philadelphia electronic trio Telepath, that's just the starting point. Incorporating a slew of international sounds through a deep dub filter — we're pretty sure the only continent that doesn't have an influence is Antarctica, but we all know their music sucks anyway — and keeping the emphasis on the funky and the spaced-out, Telepath manage to create a jet-setting sound that reflects the vast interconnectivity of our changing world. Part Afro-beat, part Sitar-beat and covered head to toe in gorgeous echoes and delay, the Telepath sound is not for close-minded, weak-willed conformists. No, these are tunes for epic sonic adventurers. Slow, chilled-out adventurers, but adventurers nonetheless. 9 p.m. at 12th & Porter SEAN L. MALONEY


Nashville's favorite dread-headed Christian hip-hop absurdist Spoken Nerd is back once again with his umpteenth record in as many months, Apocalypse Awareness Day. This record finds him further pursuing his Pedro the Lion-meets-Kool Keith combination of indie-rock influence and off-the-wall rhymes — raps about vintage video games and parables about farming collide head-on with "Christmastime in the Club," often with hilarious results. Nerd's brother from another mother, Listener, who happens to be the freshest MC to ever walk out of the Ozarks, is also supporting a new release. Return to Struggleville harkens back to the heady '90s spoken word before MTV drove the entire concept into the ground, mixing emotional stories of everyday disasters with sparse, atmospheric tunes. 8 p.m. at Humankind, 604 Gallatin Ave. SEAN L. MALONEY


Since Jan. 12's unparalleled earthquake in Haiti, more than 200,000 lives have been lost and another 1 million Haitians or more have been rendered homeless. And if those statistics are too vast to wrap your head around, just Google-Earth a random city block in Port-au-Prince — you're sure to find toppled buildings and makeshift shelters. If you'd like to make a donation to the ongoing Haitian efforts but aren't sure where to begin, here's a wonderful community event that aims high, brings together local artists and musicians and promises to be a lot of fun. Neighborly Love will take place all evening at two venues, Rumours and Blackbird Tattoo, in the 12South neighborhood, with performances from Buffalo Clover, Eric Zarycki & the Persuasion, Ghostfinger, Super Bowl Rocketship, Julia the Menace and POWERBRRD and DJ sets from William Tyler, Johny 8track and RPD. There will also be silent and raffle auctions with art, goods and services donated by Halcyon Bike Shop, Dr. Sketchy's Anti-Art School, Nashville Rollergirls, Mafiaoza's, Big Machine Records, Music City Roots, The Lost Boys Foundation, the Nashville Film Festival and loads more. Plus now's the perfect time to get that tat you've been wanting for months — 25 percent of Blackbird's tattoo sales will be donated as well. Proceeds go toward the World Food Program, the food-aid arm of the United Nations. 5-10 p.m. at Blackbird Tattoo & Art Gallery and Rumours Wine & Art Bar D. PATRICK RODGERS


If Clapton is indeed God, then it's safe to say the righteous have relented in the battle of good vs. evil. Seriously. Have you seen the legendary guitarist's latest effort? A commercial for the Fender T-Mobile MyTouch 3G phone that features Slowhand chatting it up like a giddy teenager with blues legend Buddy Guy? As if the thought of these hall-of-famers whoring themselves out to corporate advertisers isn't cringe-worthy enough on paper, the reality is enough to make you junk your idiot box. While chastising Clapton for such trespasses in light of his past musical contributions may seem a bit pious, there is just something inherently icky about the blues imperialist — whose estimated worth is already more than $170 mil, by the way — going down to the crossroads to hawk cell phones. Not only is Clapton the voice of T-Mobile, he's the voice of a generation of Docker-clad dads who are sure to be spellbound when the 64-year-old comes to "rock" the Sommet Center with his trademark eyes-closed, mouth-wide-open, this-is-the-last-time-I-suck-dick-for-money guitar face. Fresh off the heels of a phantasmic Super Bowl half-time performance, Who vocalist Roger Daltrey will open the show with a set of his and other rock 'n' roll classics. 7:30 p.m. at Sommet Center ADAM GOLD



A yearly tradition for students at Watkins, the Brownlee O. Currey Juried Student Show always offers a great opportunity to get caught up on the goings-on at the college before the spring art season gets under way. This galleryful of offerings was chosen from 78 entries by local multimedia artist Chris Scarborough. First, second and third place awards have been given to Evan Brace (photography), Sam Angel (video) and Clayton Lancaster (mixed media), respectively. The Anna Gowa purchase award went to Lauren Willis (digital C-print). If you haven't made it by the show yet, see these winning pieces and all the other selections before the exhibit closes this week. Through Feb. 28 at Watkins College of Art & Design's Brownlee O. Currey Gallery JOE NOLAN


Six Gun Lullaby is playing their last show. Or at least I think so. The same announcement that breaks this news also says they're taking a break. Either way, their drummer is moving, and if you want to make sure you see this co-ed, dual-guitar-and-drums trio again, this is something you should see. Trading in a brash and angular clash of chaotic punk rock and jagged rock 'n' roll, SGL shoots straight to the gut, then wiggles and scratches around inside those guts before punching its way back out. This town's always been a little short on rock 'n' roll of the wild-'n'-crazy, raw-power, balls-out variety, so here's to hoping this void doesn't go unfilled for long. They'll be performing alongside Tiger Piss and Thelma and the Sleaze. 9 p.m. at The 5 Spot SETH GRAVES

[From Here to Minestrone] SOUP SUNDAY

What's the old adage about soup being the food that warms you many times over? If that's true, then this 17th annual benefit — one of the city's favorite food events — turns soup into a veritable parka of nourishment. First, no more than $40 a family gets you access to a wide array of stews, broths and soups from more than 50 participating restaurants, to which judges such as Jonell Mosser and chef Deb Paquette (late of Zola — sob!) will hand out awards for taste and creativity. Meanwhile, as you peruse the silent auction, let the kids work up some steam as they enjoy magicians, clowns, face painters and balloon artists. Proceeds go to Our Kids Center (, which provides medical evaluations and crisis counseling for victims of child sexual abuse. 11 a.m.-2 p.m. at LP Field JIM RIDLEY



See the great Jean Gabin, Gallic masculine cool personified, in his iconic role as the titular thief of 1937's Pepe le Moko, screening Friday through Sunday at The Belcourt. That'll prepare you for his comeback in Jacques Becker's 1954 gangland drama as a suave heist mastermind with a predilection for foie gras. Essentially, the movie that spawned the French gangster thrillers of the 1950s — the title means "don't touch the loot" — this classy caper thriller stars Gabin and Rene Dary as gentleman crooks whose 50-million-franc caper goes south when Dary's moll opens her yap to a local thug. (The moll is none other than Jeanne Moreau, in her first major role; the thug is ex-wrestler and cult-movie tough guy Lino Ventura.) In French with subtitles and re-released to great fanfare by the invaluable Rialto Pictures, the movie mixes subdued character study with slangy hardboiled action. It shows three days only as part of The Belcourt's Noir Fest 2. Feb. 28-March 2 at The Belcourt JIM RIDLEY



Elizabethan composer and lutenist John Dowland has been well-served by the early music revival over the past several decades. Since guitarist Julian Bream and tenor Peter Pears brought Dowland into the mid-20th century concert hall, his instrumental and vocal works have attracted early music specialists like Christopher Hogwood and Emma Kirkby as well as non-specialists ranging from Sting to saxophonist John Surman. Soprano Amy Jarman's pure, rich tone is wonderfully suited to this repertoire — Jarman and guitarist Joshua McGuire give a concert of Dowland's music as part of the Blair School of Music's "Nightcap" series, with introductory discussion by Blair musicologist Cynthia Cyrus. Admission is free. 8 p.m. at Blair School of Music RUSSELL JOHNSTON


Chris Otepka is a strange beast. His one-man band, The Heligoats, has morphed from a bedroom act (albeit a bedroom act that would sometimes feature even stranger beasts than he, like the Oakleys-clad Kenny Aronoff) into a full-fledged rock 'n' roll band with the additions of Mike Mergenthaler, David James and Steven Mitchell. Formerly the frontman for Troubled Hubble, Otepka offers weirdly wounded lyrics and kitchen-sink instrumentation — think Holopaw meets The Mountain Goats, and not just 'cause the names sound similar — that necessitated this expansion, as walls of sound build themselves a helluva lot faster when there's more than one mason manning the trowel. Otepka's latest, Goodness Gracious, is composed of tracks he wrote on a string of solo tours fleshed out full-band style, and the new, more straight-ahead sonics suit him. Where before there was digression, now there's confession. Good on ya, Chris. Like The Who sang, "It's the singer, not the song / that makes the music move along." 9 p.m. at The Basement TIMOTHY C. DAVIS


If you're not familiar with this singular feminist symbol's tireless work on behalf of women around the world – from exposing the treatment of Playboy bunnies in the '60s, to raising awareness about reproductive rights and domestic violence and equal pay, to founding Ms. magazine, to founding the National Women's Political Caucus, to organizing for and fighting against every imaginable inequity women face, to an abundance of all-around witticisms, e.g., "If the shoe doesn't fit, must we change the foot?" — then you should crawl out from under your pile of vintage Barely Legals and join the rest of us. At 75, Steinem is still American feminism's foremost global spokeswoman, and though critics can easily find a litany of contradictions in her work — her misunderstood New York Times essay about Hillary Clinton's presidential bid comes to mind — when you're staring down a double-barreled, endlessly renewable resource like American sexism, who wouldn't want such a poised, witty and fierce advocate in their corner? 4:30 p.m. at MTSU's Tennessee Room in the James Union Building, Murfreesboro TRACY MOORE



"In life, there are no accidents," states the tagline for The Princess and the Warrior. It's a claim of dubious veracity, but Tom Tykwer's 2000 film follows the pattern of his earlier work, Run, Lola, Run, in being thought-provokingly obsessed by fate and the near misses and serendipitous meetings of city life. (This film also stars Lola's Franka Potente.) Its central action concerns a chance connection between two strangers, Sissi, a young psychiatric nurse, and Bodo, an impoverished tough guy. In the process of committing a robbery, he causes a traffic accident that nearly kills Sissi, then proceeds to save her life with an emergency tracheotomy. When Bodo disappears into the crowd, Sissi is left wondering about the mystery man. The pair's eventual meeting will have romantic results. And all this melodrama results in a stylish, suspenseful and touching film. In German with subtitles, the film is free and open to the public. 7 p.m. at Vanderbilt's Sarratt Cinema EMILY BARTLETT HINES


Here's our problem with mid-week parties: We don't get paid until the end of the week. And while we try our best to make the party last all week long, sometimes the bank likes to put the kibosh on that somewhere around Monday morning. Luckily, our favorite Wednesday-night dance party Open House just announced that they are expanding their operation to include one Friday a month starting in April, just in time to celebrate six months of dance floor supremacy. Of course, that's not for another four weeks, but we're still excited that there'll be an Open House event where we don't have to scrounge through our couch to pay the bartender. This week special guest DJ Ms. Gina rocks the wheels of steel alongside residents Brandon Wahl and Arturo Gomez. 10 p.m. at Mai, 125 12th Ave. N. SEAN L. MALONEY


Although it came out the same year as his countryman Alfred Hitchcock's Psycho, Michael Powell's 1960 horror movie was vilified for its queasy linkage of sex, violence, passive voyeurism and moviegoing — elements Hitchcock rode to the bank. Powell's career never recovered, but today this legendary shocker looks decades ahead of its time. Carl Boehm plays Mark, a stammering shutterbug who films pretty women with a movie camera that has two special attachments: a spear that impales the subject, and a mirror that allows the victim to watch her moment of death. The mirror places the audience in the roles of watcher, killer and victim all at once, and that implication gives this proto-slasher/snuff movie its grisly resonance. It makes the connection most horror movies don't dare — between the lust and bloodlust of screen monsters and the darkest longings of their real-life fans. And Powell doesn't exempt his own motives as a filmmaker. The man playing Mark's father, the scientist who tortures his son and records the results in home movies — that's Michael Powell. Part of The Belcourt's Noir Fest 2. March 3-5 at The Belcourt JIM RIDLEY

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