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DTSTART;TZID=America/Denver:20260215T120000
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SUMMARY:23rd Annual Big Sky Documentary Film Festival (Downtown Missoula)
DESCRIPTION:The 23rd Annual Big Sky Documentary Film Festival features daily screenings around Downtown Missoula at The Wilma\, Zootown Arts Community Center and Missoula Children’s Theatre from Friday\, February 13 thru Sunday\, February 22\n\n\n\n\n\nNow entering its 23rd year\, the Big Sky Documentary Film Festival is the premier venue for non-fiction film in the American West. The upcoming festival will take place February 13-22\, 2026. Big Sky offers an ideal setting for filmmakers to premiere new work and develop lasting relationships with fellow filmmakers and industry. The festival draws an audience of 20\,000 and film entries from every corner of the globe to a uniquely intimate mountain town setting with local Montana flavor. A hybrid festival\, audiences can enjoy the festival program live in unique exhibition spaces across downtown Missoula and in Big Sky’s virtual cinema from nearly anywhere in the world. Selected for 9 years running by MovieMaker Magazine’s 50 Festivals Worth the Entry Fee\, BSDFF is a top-100 rated festival on FilmFreeway and is an Academy Award-qualifying festival for short documentaries. \n\n\n\nThe annual 10-day event takes place each February in downtown Missoula\, Montana. \n\n\n\nThe festival hosts over 200 visiting artists\, presents an average of 150 non-fiction films\, and offers a variety of exciting events at the historic theater The Wilma and neighboring downtown Missoula venues. In addition to screenings\, the Big Sky DocShop is a five-day industry event that includes panels\, master classes\, workshops\, and the Big Sky Pitch session. DocShop’s participants have included: HBO Documentary Films\, Showtime Documentary Films\, Tribeca Film Institute\, Sundance Doc Fund\, The New York Times Op-Docs\, ESPN Films\, Participant Media\, BBC Storyville\, CNN Films\, ITVS\, POV\, PBS\, America ReFramed\, American Experience\, Al Jazeera\, Nia Tero\, Chicken & Egg Pictures\, Field of Vision\, Film Independent\, Ford Foundation and Catapult Film Fund. \n\n\n\nSpecial retrospective programs have included the films of: Barbara Kopple\, The Maysles Brothers\, Travis Wilkerson\, Joe Berlinger\, Julia Reichert & Steven Bognar\, Brett Story\, Lucy Walker\, Matt Wolf\, Ondi Timoner\, Doug Pray\, Daniel Junge\, Bill & Turner Ross\, Chuck Workman\, Jeff & Michael Zimbalist\, Sam Green\, John Cohen\, EyeSteelFilm\, Jeanie Finlay\, Kartemquin Films\, and Les Blank. Special guests have included Indy Rock legends Yo La Tengo\, Comedian Tig Notaro\, Steve James (Hoop Dreams)\, Les Blank (Burden of Dreams)\, Greg Barker (Sergio)\, Joe Berlinger (Crude)\, Ron Mann (Grass)\, Brendan Canty & Christoph Green (the Burn To Shine series)\, Chuck Workman (The Life & Times of Andy Warhol)\, and Hart & Dana Heinz Perry (Sex: The Revolution). \n\n\n\nRecent Award winners at the festival have included: Colette (Anthony Giacchino)\, Public Trust (David Garrett Byars)\, St. Louis Superman (Smriti Mundhra\, Sami Khan)\, My Country No More (Rita Baghdadi\, Jeremiah Hammerling)\, Cradle of Champions (Bartle Bull)\, The Last of the Elephant Men (Daniel Ferguson\, Arnaud Bouquet)\, Siblings are Forever (Frode Fimland)\, A World Not Ours (Mahdi Fleifel)\, This Way Of Life (Thomas Burstyn)\, Steam of Life (Joonas Berghäll & Mika Hotakainen)\, Blood Brother (Steve Hoover)\, Chasing Ice (Jeff Orlowski)\, Last Train Home (Lixin Fan)\, Sweetgrass (Ilisa Barbash & Lucien Castaing-Taylor)\, Gasland (Josh Fox)\, Rough Aunties (Kim Longinotto)\, Ashes of American Flags (Brendan Canty & Christoph Green)\, In A Dream (Jeremiah Zagar)\, and Bronx Princess (Yoni Brook & Musa Syeed). Find the complete list of award winners here. \n\n\n\nPurchase Single Screening Tickets\, 5-Film Pass\, All-Screening Pass\, and All-Access VIP Pass HERE
URL:https://missoulaunderground.com/mugevent/23rd-annual-big-sky-documentary-film-festival-downtown-missoula/2026-02-15/
LOCATION:Downtown Missoula\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Documentaries,Festivals,Film Festivals,Movies,Short Film
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DTSTART;TZID=America/Denver:20260215T140000
DTEND;TZID=America/Denver:20260215T160000
DTSTAMP:20260604T135101
CREATED:20260127T062847Z
LAST-MODIFIED:20260127T062850Z
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SUMMARY:Montana Repertory Theatre "Can't Drink Salt Water" with UM School of Theatre & Dance at UM Montana Theatre
DESCRIPTION:Montana Repertory Theatre presents the world premiere of Kendra Mylnechuk Potter’s “Can’t Drink Salt Water” with the UM School of Theatre & Dance in the Montana Theatre with performances from Saturday\, February 14 through Sunday\, February 22\n\n\n\n\n\nDoors @ 30 minutes before show time \n\n\n\nWith transformative support from The Roy Cockrum Foundation\, and in partnership with UM School of Theatre and Dance\, Montana Repertory Theatre presents the world premiere of Kendra Mylnechuk Potter’s Can’t Drink Salt Water. The opening night of this gripping new play will take place Saturday\, February 14\, 2026 in the Montana Theatre on the UM Campus (PARTV Building)\, with eight additional performances following\, through February 22. \n\n\n\nJuxtaposing a mother’s relentless search for her missing daughter with the journey of a young woman newly arrived at Bethel House\, an evangelical shelter for victims of sex trafficking\, this timely story weaves together Native identity\, maternal grief\, contemporary religious faith\, humor\, and a call to action. The production showcases professional Indigenous talent from across the country\, including cast members Allison Hicks\, Jennifer Rader\, Serenity Mariana\, and Bradley Lewis\, costumes by Asa Benally\, lighting design by Emma Deane\, sound design by Rory Stitt\, and mask design and creation by Cannupa Hanska Luger. As a co-production\, it showcases UM student actors\, designers\, and crew alongside the professionals. The cast includes students Shadie Wallette\, who previously performed in the 2023 staged reading\, and Octavio Jimenez\, who has toured the state over the past year with State of Mind\, a collaboration between The Rep and the University of Montana Co-Lab for Civic Imagination. UM Students in the crew include Ronnie Avansino as the Props Designer\, Rae Scott as the Assistant Stage Manager\, and Aaron Prati as the Assistant Lighting Designer. The playwright\, Kendra Mylnechuk Potter\, is a University of Montana alum\, and is based in Missoula. \n\n\n\n“I am humbled to have the opportunity to collaborate with so many artists in this meaningful way. And for the work to get to live on this particular stage where I first worked over 20 years ago as a student\, my “home stage” as it were\, is a straight up dream\,” Potter said. “The caliber of work – soup to nuts – from designers through performers\, is just such a treat for our town to get to share in\, and getting to mingle seasoned professionals at the top of their craft while highlighting the talent here in town with that of our UM student artists is a joy that brings this experience additional heart. My sincere hope is that we are able to provide a theatrical experience that feels like a useful contribution to the issues we seek to address: Missing and Murdered Indigenous People\, community care\, ecosystems\, and seeing what (and who) has been here all along.” \n\n\n\n“The School of Theatre and Dance is proud to partner with Montana Repertory Theatre to tell this vital story. We are so grateful to the Native artists\, The Roy Cockrum Foundation\, and to all involved for sharing their artistry\, talents and resources with our students and we look forward to welcoming audiences to the Montana Theatre to see Can’t Drink Salt Water\,” said Bernadette Sweeney\, Director of UM School of Theatre and Dance. \n\n\n\n This project began in 2019 with the idea to commission an original work from an Indigenous artist\, grounded in The Rep’s action-oriented Land Acknowledgement: “Montana Repertory Theatre acknowledges that we are in the aboriginal territories of the Salish and Kalispel people. We also acknowledge the privilege of gathering on this land to share stories. We pledge to always hold a place on our stages for the stories of this land and of its first peoples.” The original commission was supported by the Warren Miller Performing Arts Center in Big Sky\, Montana\, and this story was chosen by a nationwide team of Indigenous artists\, including Lily Gladstone\, DeLanna Studi\, Madeline Sayet\, and Andre Bouchard. \n\n\n\n“The Warren Miller Performing Arts Center (WMPAC) is thrilled to see the next phase of Can’t Drink Salt Water coming to life in Missoula this spring. Any chance we can get to help support new\, adventurous work like the piece that Kendra Mylnechuk Potter has created\, we’re fully on board\, especially when it comes to cultural realities that authentically embody lived experiences here in Montana\,” said John Zirkle\, Executive Director / Artistic Director at WMPAC. \n\n\n\nThis production is supported by a generous grant from The Roy Cockrum Foundation. Founded in 2014 by Roy Cockrum and Benita Hofstetter Koman with winnings from Mr. Cockrum’s Powerball lottery jackpot\, the Foundation’s mission is to award grants to support world-class performing arts projects in not-for-profit professional theatres throughout America. Since 2014\, 76 American theaters and performing arts organizations have received major grants from the Foundation. Inspiration for its mission derives from a Camus quote:“Without culture\, and the relative freedom it implies\, society\, even when perfect\, is but a jungle. This is why any authentic creation is a gift to the future.” ― Albert Camus\, The Myth of Sisyphus and Other Essays.This performance includes mature themes. \n\n\n\n\n\n\n\nPurchase Tickets LINK
URL:https://missoulaunderground.com/mugevent/montana-repertory-theatre-cant-drink-salt-water-with-um-school-of-theatre-dance-at-um-montana-theatre/2026-02-15/
LOCATION:UM Montana Theatre\, 32 Campus Drive\, Missoula\, Montana\, 59812\, United States
CATEGORIES:Indigenous,Play,Theatrical Plays
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ORGANIZER;CN="Montana Repertory Theater":MAILTO:Salina.Chatlain@MontanaRep.com
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DTEND;TZID=America/Denver:20260215T230000
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CREATED:20260122T070133Z
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SUMMARY:Hayes Carll - We're Only Human Winter 2026 Tour with Ryan Montbleau at The Top Hat (SOLD OUT)
DESCRIPTION:(SOLD OUT) Logjam Presents welcomes Hayes Carll for a live performance on the “We’re Only Human” Winter 2026 Tour with Ryan Montbleau at The Top Hat in Downtown Missoula at 8:00 pm Sunday\, February 15\n\n\n\n\n\nDoors @ 7:00 pm \n\n\n\nLogjam Presents welcomes Hayes Carll for a live performance on the “We’re Only Human” Winter 2026 Tour with Ryan Montbleau at The Top Hat in Downtown Missoula at 8:00 pm Sunday\, February 15. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. All tickets are general admission standing room only with limited bench seating. All ages are welcome. \n\n\n\nTake a look at these tips to best prepare yourself for a smooth ticket buying experience. \n\n\n\nAdditional ticketing and venue information can be found here. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Hayes CarllHayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what to do or think. But he is charting out a personal guide for his life\, quieting the noise\, and sitting with his real voice – the one that’s candid\, consistent\, and often inconvenient. \n\n\n\n“We’re Only Human” is Carll’s tenth album. Like his best lyrics\, it is also an understated masterpiece\, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to\, well\, ourselves\, in the midst of confusing\, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself. \n\n\n\n“I’ve lived outside of myself for so long\,” Carll admits. “Distractions\, fear\, anxiety\, insecurity\, and the complexity of being human in this world have so often pulled me away from being present or at peace.” \n\n\n\n“I feel like there’s been a voice riding shotgun all my life\, pushing me to do better\, but I’ve struggled to listen to it\,” Carll says. “The idea behind this record was to do the personal work I needed to do\, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if\, and inevitably when\, I get lost again.” \n\n\n\nCarll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe\, but many of Nashville’s stars have recorded them\, including Kenny Chesney\, Lee Ann Womack\, and Brothers Osborne. As a solo recording artist\, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals\, wit\, and heart dance through wordplay that’s always clever\, and never too precious. Through it all\, whenever Carll points a finger\, it’s most often at himself. \n\n\n\nAs We’re Only Human collects moments of Carll figuring out how to be with himself\, the songs feel forthright\, hopeful\, and timely. In today’s onslaught of instant gratification\, rage-baiting headlines\, glorified intolerance\, and falling empathy\, the record is a startling outlier: an artist’s raw\, real-life effort to live well—both with himself and others. Carll embraces private epiphanies\, and shares them with the world\, allowing them to unfold for all to see and share. \n\n\n\nOf course\, We’re Only Human is also art. So while appreciating the motivation and compelling themes driving it will underpin the listener’s experience\, Carll’s album also matters because of the sheer brilliance of its execution. These are songs composed by a writer’s writer\, wielding his considerable skill with precision and beauty. \n\n\n\nThe album’s title track unfolds with plaintive piano and a mantle of grace. Carll sings\, with a calming sincerity\, “We’ll do most anything to avoid the pain / Hiding our hearts and casting the blame / 6\,000 tongues\, but we’re all the same / Ain’t no need to carry that shame / ‘Cause we’re only human.” \n\n\n\nHard-won minutes of quiet clarity inspired some of the record’s most beautiful moments. Accented by bright mandolin and soft\, simple percussion\, “Stay Here a While” captures a peaceful reprieve from a racing mind. “I remember sitting on the couch\, looking out the window\, watching the birds do their thing\,” Carll says with a laugh. “I got lost in their lives for a moment\, and it was such a wonderful feeling because my mind is always going in circles\, seeking excitement\, and frankly\, just thinking about myself. I enjoyed the peace I felt in that moment and I thought\, this is lovely and I’d like to stay in this place.” Carll shared that takeaway with MC Taylor\, aka Hiss Golden Messenger\, who not only could relate\, but helped finish the song. \n\n\n\n“High” offers another invitation to stop and breathe. Opening with a solo horn\, flute\, and stripped down piano\, the track is lovely and sincere\, with Carll’s signature humor hovering comfortably nearby. There are also times when Carll’s sharp wit comes roaring to the foreground. “Progress of Man (Bitcoin and Cattle)” sends up society’s disorienting––and conflicting––forces\, while “Good People (Thank Me)” is a masterclass in comedic timing\, stubborn humanism\, and the untapped potential of gratitude. \n\n\n\nA dogged insistence on acceptance\, both of one’s self and others\, courses through the album— as does Carll’s determination to hold himself accountable. “If I’m judging others\, then I’m not having to look at myself\,” Carll says. “I’m flawed as hell\, judgmental\, and critical of myself and those around me. That’s a loop that feeds itself. But I figure If I can look at myself clear-eyed and acknowledge my own shortcomings\, it might help me have some grace and acceptance for myself and others.” \n\n\n\nIt’s that sort of harmonious duality––embracing one’s self and confessing one’s own mistakes––that solidifies the record’s big-hearted honesty. “The creative process was in large part a self-therapy session. I don’t think that would work if I was only looking at everyone else’s issues\,” Carll says. \n\n\n\nA moving series of grounding vignettes\, realizations\, and self-love roll through “What I Will Be\,” as Carll promises to not compromise himself to fit in. A slow-burning\, blues-tinged standout\, “I Got Away with It” is painful and gorgeous. Brimming with hope\, “One Day” balances the work Carll sees as necessary with the certainty that satisfaction\, contentment\, and peace are reachable by trusting in yourself and the universe. \n\n\n\nFeaturing a parade of Carll’s longtime friends\, album closer “May I Never” is a plea to himself. As Ray Wylie Hubbard\, Shovels & Rope\, Darrell Scott\, Nicole Atkins\, and The Band of Heathens’ Gordy Quist and Ed Jurdi each take verses\, listeners are swept up in a resolute promise to keep after good. “It brings up a lot for me when I hear them singing those lines\,” Carll says. Each of those people – whether they know it or not – have played a part in my story\, and it’s gratifying and humbling to me to have them lend their voices to this song.” \n\n\n\nIn the end\, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it\, too” Carll says. “Through it all\, I am trying to stay appreciative\, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.” \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Ryan MontbleauA relentless road warrior and masterful wordsmith\, Ryan Montbleau has spent the better part of thirty years cultivating a devoted audience on the strength of his ecstatic live shows and exhilarating sonic versatility. He’s collaborated with artists as diverse as Trombone Shorty\, Galactic\, Steel Pulse\, Tall Heights\, Martin Sexton\, Anders Osborne\, and George Porter\, Jr; shared bills with the likes of Tedeschi Trucks Band\, Ani DiFranco\, Todd Snider\, The Wood Brothers\, Rodrigo y Gabriela\, and Mavis Staples; and racked up more than 150 million streams on Spotify alone. NPR’s Mountain Stage compared his “eloquent\, soulful songwriting” to Bill Withers and James Taylor\, while Relix celebrated his “poetic Americana\,” and The Boston Herald raved that “he’s made a career of confident\, danceable positivity.” \n\n\n\nMontbleau’s freewheeling new album finds him exploring the full spectrum of his influences like never before\, touching on folk\, rock\, funk\, soul\, hip-hop\, and reggae\, all with a preternatural ease that belies the intensely focused craftsmanship behind it. The songs are sprawling and unpredictable\, grappling with a modern world perpetually teetering on the edge of chaos\, but the performances are relentlessly optimistic\, insisting on hope and joy in the face of it all. The result is Montbleau’s most vulnerable and cathartic work yet\, an album that acknowledges the inevitability of doubt and pain while at the same time celebrating our limitless capacity for growth and love.
URL:https://missoulaunderground.com/mugevent/hayes-carll-were-only-human-winter-2026-tour-with-ryan-montbleau-at-the-top-hat/
LOCATION:Top Hat\, 134 W. Front Street\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Music
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