Stop Making Sense, hosted by Jerry Harrison, Sept. 18

You likely already know that Jonathan Demme’s 1984 documentary is one of the great concert films. But thanks to David Byrne, its compelling leading man, it’s also one of the great narrative films of the ’80s. That perfectly logical arc is about community: Opening with a solo “Psycho Killer” suggests the pathology of creative isolation; the first musician to join him is Tina Weymouth (a musical Eve to Byrne’s Adam), grounding him in the human rhythm he struggles with. The staging and camerawork throughout build the palpable sense of a team coming together under the leadership of one strange individual. But those idiosyncratic gestures and flourishes have meaning, the exquisite and straightforward structure guiding the audience through i

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