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I first wrote about Johan Liedgren in November of last year. If you have not read that post, check it out here.

His most recent film continues to gain momentum and with recent shifts in the United States — it has gained even more importance.  I’m quite literally pasting an interview Kate Shifman conducted with Mr. Liedgren last year. I do so with Ms. Shifman’s permission. 

"Well, there's no story without evil." Bradley Goodwill, Andrew Tribolini, and Ed Stone The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi “Well, there’s no story without evil.” Bradley Goodwill, Andrew Tribolini, and Ed Stone The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

“Well, there’s no story without evil.”
Bradley Goodwill, Andrew Tribolini, and Ed Stone
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Johan Liedgren’s most recent feature film displays something very rare: a strong female protagonist who finds a very big voice in sexual controversy and moral complexity.

A witty, intense and unpredictable tale fusing rapid-fire chamber-drama with fearless acting and relentless cinematic appeal, “The Very Private Work of Sister K” starts with the story of a young nun accused of grave transgressions, who rises to battle the oldest of beliefs as the true nature of sexuality is put on trial. Award-winning director Johan Liedgren teams up with director of photography Zia Mohajerjasbi and actress Liza Curtiss as Sister K in “…a modern bar-fighting lovechild of Eyes Wide Shut and 12 Angry Men.”

I called Mr. Liedgren at his house in Seattle on a Wednesday afternoon in early December, curios about a male artist’s relationship to what Hollywood has been struggling with for such a long time: strong and complex female characters.

Kate Shifman: There is a scene where the female protagonist Sister K keeps telling the older male priests the sexual relationship she had was “…not just sex.”

Johan Liedgren: Sex is never just about sex.

KS: They say that it was simple. She says… it was complicated.

JL: She says it was complex. Human sexuality is complex. Not necessarily complicated. We all know how babies are made. Good sex is something very different.

KS: Complicated and complex – what is the difference?

JL: I feel like I am getting set-up to mansplain. (laughter)

KS: What’s the difference to you?

JL: One has many moving parts. The other can be simple but still mean many things on many levels. I should really look that up…

KS: It is rare to see truly strong female characters. Especially from a male director. Is this a feminist film?

Liza Curtiss The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

Liza Curtiss
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

JL: I don’t know how much it matters that I am male. But yes, she is very strong. But for me it was never because she repeats some political line that fits an established feminist abstract narrative. Her strength is interesting because she finds her moral high ground in a very specific experience. And to make things more interesting, it’s fueled with religious context and a suitcase full of sexual taboos.

KS: But it’s different than “Spotlight” in many ways.

JL: The obvious ways, sure. And it’s more fun to watch. But even more so because it serves as allegory rather than dramatized documentary.

KS: What you describe could have happened.

JL: It did happen… I can’t find the details but I think a similar case 20 years ago in Denmark. A civil case of a nun who thought her patient needed sexual attention on a regular basis. And just as I was editing the Sister K, New York Times did an article on Anna Stubbenfelt – the therapist who fell in love with and slept with a much younger severely autistic boy. Fascinating. And complex.

“Kicking in already open doors. All film makers should stay away from that and aim higher. “

KS: Could this film have been done with a male nurse?

JL: Sure. But you would have to play against the cliche’s or you would be re-making Spotlight. And that’s not me. Too easy. It can’t be predictable.

KS: Could it be about something other than sex?

JL: Of course. But not for me, and not for this story. Sexuality has a absolutely singular place in our lives. It’s an everyday need and deeply mysterious at the same time. It’s giving and taking. It’s familiar and yet always new somehow. Unmatched complexity. That’s why sexuality will always resonate with divinity for me. Those hips don’t lie. (laugh) But hey, don’t forget what Sister K did to her patient.

Andrew Tribolini The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi Andrew Tribolini has a little story to share… The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

Andrew Tribolini
The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi
Andrew Tribolini has a little story to share…
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

KS: And still we root for Sister K.

JL: I agree, most people do. But you have to work for it, and you are constantly challenged in that position as the story twists and turns. And I think that is why the film turned out so well. It was not an easy project.

KS: Too controversial?

JL: Never!

KS: Are you actively staying away from politics?

JL: Sexual politics is often part of my projects. But traditional politics – yes, anything with dull and predictable categories… we are living in a world stuck in lazy narratives, selling something predictable to the already converted. Kicking in already open doors. All film makers should stay away from that and aim higher.

KS: More complexity.

JL: Exactly! The Hollywood machine requires simplicity and predictability. Known categories they can market too. Stories that everyone likes. It is up to independent films to dramatize more complex issues. To take real risks. Commercial and artistic. Even smaller independent film seem more concerned with making something that Hollywood likes than taking risks and breaking new ground.

KS: You don’t see much feminist film come out of Hollywood.

JL: That’s an understatement.

KS: Did you set out to make a feminist film.

JL: No. But I did set out to make a film about a woman who finds a deep female power outside the obvious, and she does so without being perfect. Clearly.

“All of my work hints at a bigger and more interesting world luring in the shadows of everyday life.”

Johan Liedgren

Johan Liedgren

KS: You are an accidental feminist.

JL: Love that! (laughter) – Johan Liedgren… accidental feminist. In some ways I think we can describe Sister K just the same.

KS: What would you like people to take away from the film?

JL: I would love to see someone stand up for real sexuality the way Sister K does. Bring the message home – when sex is talked about at that dinner party, as “simple”, there will be those women around the world who will push their plate to the side, empty their glass of wine, stand up and deliver the same speech Sister K did. And end it with a passionate “…Good sex, that’s where God goes to church!” Bam! Mic-drop…

KS: I can see that happening at a stale dinner somewhere.

JL: But also… I think the film – and certainly actress Liza Curtiss – does a brilliant job of having us drift deep into the complexity of what is going on long before we know we are in it. She uses all our pre-conceived notions of gender and sex to take us somewhere very different. She’s that good. You are laughing, but then suddenly realizing you are caught rooting for some very questionable behavior. Good story is a beautiful trickster – leading us to places we otherwise would not see. Film can and should do the same. I think all of my work hints at a bigger and more interesting world luring in the shadows of everyday life.

KS: Your film starts out with a funny, almost childlike story within the story – a rabbit who decides to stop eating his vegetables.

JL: Right. It’s a good example of how story can be a trickster – it’s not long before we fully embrace the rabbit as a brutal nocturnal carnivore.

KS: Accidental Carnivore?

JL: Nice. (laughter). But yes, Sister K in similar fashion seems harmless and benign in the beginning only to reveal incredible potency. No one sees her coming.

KS: Is she deceiving them all from the very beginning?

JL: Well, if she is, it’s not to save herself. It’s to make sure the story that survives is told right.

KS: Several times she talks about what happened to her as a story, a story to be told – told over and over again. The film eludes to the work of Eve, and the story of Eden.

JL: The value and currency of her actions is the story that will be told about her. And that is also how the rabbit story ends, with that story living on, retold over and over again, from generation to generation. I love story. The rabbit story even survives one of my films and appears in the next. Lives on… and if you end the interview now, the story of the film through this interview will live on – and it would provide for almost perfect symmetry. (laughter)

KS: What a director! (laughter). Thank you, Johan – a wonderful film and a surprising and incredibly potent female protagonist where we least expect it.

JL: It was all my pleasure.

The Very Private Work of Sister K Johan Liedgren, 2016

The Very Private Work of Sister K
Johan Liedgren, 2016

Kate Shifman is a NYC freelance writer, consultant and photographer traveling the world, currently based in Portugal. Johan Liedgren is an award-winning film-director, writer and story consultant. His work with large brands, design, media and technology companies is extending narrative thinking and storytelling to products and disciplines far outside traditional application. Johan lives a relatively balanced life with his two sons in Seattle. More info  here

The Very Private Work of Sister K can be rented/purchased here

I highly recommend it.

Matty Stanfield, 1.29.2017

 

 

 

Master cinematographer, Christopher Doyle, was asked to comment on the way neon lights and lighting have impacted his work. As as part of the online exhibition from Mobile M+ and NEONSIGNS.HK, he revisited some of the locations in which he and Kar-wai Wong filmed some of iconic work:

The films we made at a certain period in the 80’s and 90’s wouldn’t be this way if it wasn’t for the space in which they were made…

Beauty hides in the shadows... Carina Lau Days of Being Wild Kar-wai Wong, 1990 Cinematography | Christopher Doyle

Beauty hides in the shadows…
Carina Lau
Days of Being Wild
Kar-wai Wong, 1990
Cinematography | Christopher Doyle

 

…And our space is a neon space. It’s a light space. It’s a space of energy that is electric. It’s the way people move. It’s the energy of Hong Kong. It’s the excitement of the encounters on the street. And it’s lit by neon, basically. Especially at that time.

 

Surviving in a Neon World Tony Leung Chungking Express Kar-wai Wong, 1994 Cinematography | Christopher Doyle

Surviving in a Neon World
Tony Leung
Chungking Express
Kar-wai Wong, 1994
Cinematography | Christopher Doyle

 

It’s a garish, exuberant possibly empty world if you’re not careful. I think that’s what neon is representing.” — Christopher Doyle, Filming in the Neon World.

For the full film/interview click here:

"Without any warning, she suddenly enters the store. I don't know how long she'll stay." Fallen Angels Kar-Wai Wong, 1998 Cinematography | Christopher Doyle

“Without any warning, she suddenly enters the store. I don’t know how long she’ll stay.”
Fallen Angels
Kar-Wai Wong, 1998
Cinematography | Christopher Doyle

Doyle’s work for Kar-wai Wong is some of the best cinematography one can ever expect to see. As he explains, it is exuberant — It is also erotic, unique, sensual, dangerous, disorienting and staggeringly beautiful. The shot posted above takes place in a space few of us would want to actually spend time. Much of Fallen Angels seems dirty and possibly even sinister, but eyes do not want to part with the visuals Doyle has captured. Less than a year later he would make his debut as a feature filmmaker. Away With Words featured one of Japan’s hottest  actors, Tadanobu Asano, and an impossibly cool use of music. Most importantly, it was visually amazing. The images of Away With Words imprinted on my brain. Sadly Doyle’s movie was never lucky enough to receive adequate distribution. But for those of us who did see it — the movie lives on.

The criminally neglected and forgotten... Tadanobu Asano Away With Words / San tiao ran Christopher Doyle, 1999

The criminally neglected and forgotten…
Tadanobu Asano
Away With Words / San tiao ran
Christopher Doyle, 1999

The world contained within Away With Words is magically infused with neon light. The movie actually seems to radiate much of the time. This film can still be found via DVD, though it has never received a proper transfer. It is still worth seeing. It is also almost impossible to find any screenshots that do it justice. I must disclose that Christopher Doyle is my favorite cinematographer. For me to write this is a big deal. I love cinematography and there are many artists I admire — but it is usually hard for me to pick out one artist above all others. I do not have this problem when it comes to cinematography. No one shoots a film like Mr. Doyle.

"Turns out that lonely people are all the same." Leslie Cheung and Tony Leung Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

“Turns out that lonely people are all the same.”
Leslie Cheung and Tony Leung
Happy Together
Kar-wai Wong, 1997
Cinematography | Christopher Doyle

The use of neon lighting for film has been going on for some time. It’s seem obvious that lighting is as key to a movie as editing, but it is far more complex than simply providing enough light to capture an image. Lighting allows the filmmaker and cinematographer to not only guide but to literally shape a film’s meaning. Cinematography incorporates all essential elements to form the essence of a movie. When one thinks of neon lighting for film, it would seem it best for creating either a sterile environment or a world of shadows with the intention of menace or horror. But the use of neon lighting is almost limitless in what it can convey. It all depends on how well the cinematographer understands lighting, is able to collaborate with lighting technicians and how creative he/she is in bringing a personal vision that highlights the essential one belonging to the film’s director.

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer. Jessica Harper suspects witchery. Suspiria Dario Argento, 1977 Cinematography | Luciano Tovoli

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer.
Jessica Harper suspects witchery.
Suspiria
Dario Argento, 1977
Cinematography | Luciano Tovoli

Argento’s Suspiria is a neon lit nightmare. Luciano Tovoli’s camera gives the gratuitous violence and paranormal horrors a sinister sort of beauty without getting in Argento’s way. The cinematographer works for the director, but he/she can bring forth magic that the director is often only able to imagine.

In a passive chronological order, take a look at the following shots that incorporate The Neon World into the frames and meanings of the respective films.

"How much?" American Gigolo Paul Schrader, 1980 Cinematography | John Bailey

“How much?”
American Gigolo
Paul Schrader, 1980
Cinematography | John Bailey

Bailey’s use of neon reds and blacks is the perfect concept for dark eroticism and ever-present danger and paranoia.

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous Rutger Hauer Blade Runner Ridley Scott, 1982 Cinematography | Jordan Cronenweth

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous
Rutger Hauer
Blade Runner
Ridley Scott, 1982
Cinematography | Jordan Cronenweth

I was too young when I first saw Blade Runner to be able to own the language of film, but when I noticed it was referred to as “Neo-Noir” I do remember thinking “Neon-Noir” seemed more sensical. A few years later I would begin to make the connection. I still like the term “Neon Noir” even if it isn’t real.

"This is not a marketplace." Thief Michael Mann, 1981 Cinematography | Donald E. Thorin

“This is not a marketplace.”
Thief
Michael Mann, 1981
Cinematography | Donald E. Thorin

Michael Mann had great luck bringing the neon world to Thief, but the same can’t be said for One From The Heart. Even still, it is a beautiful looking mess of a movie.

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow -- and nobody came to see it? Nastassja Kinski glowing... One From The Heart Francis Ford Coppola, 1982 Cinematography | Vittorio Storaro / Ronald Víctor García

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow — and nobody came to see it?
Nastassja Kinski glowing…
One From The Heart
Francis Ford Coppola, 1982
Cinematography | Vittorio Storaro /
Ronald Víctor García

Tony Scott’s The Hunger is seamlessly beautiful — the film’s opening moments/credits are unforgettable and immediately set the stage. Shadowed, cool, stylish and throbbing with electricity and hyper eroticism — this world is beguiling, but we all know that Bela Lugosi’s Dead.

"Nothing human loves forever..." Peter Murphy The Hunger Tony Scott, 1983 Cinematography | Stephen Goldblatt

“Nothing human loves forever…”
Peter Murphy
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

Ken Russell may have not had a big budget, but he understood how he exactly how he wanted to capture China Blue’s surreal world of fantasy, cheap thrills and escape.  Dick Bush was a master, but it was usually his director’s who pushed him forward. And he never failed them.

Welcome to the Neon Surrealism of Ms. China Blue... Kathleen Turner Ken Russell, 1984 Cinematography | Dick Bush

Welcome to the Neon Surrealism of Ms. China Blue…
Kathleen Turner
Ken Russell, 1984
Cinematography | Dick Bush

Wim Wender’s Paris Texas seems an odd fit for utilizing the idea of a Neon-drenched world, but Robby Muller brings the idea to glorious use more than a couple of times within Wender’s concept.

There is distinct beauty and sadness in every shot... Paris Texas Wim Wenders, 1984 Cinematography | Robby Muller

There is distinct beauty and sadness in every shot…
Paris Texas
Wim Wenders, 1984
Cinematography | Robby Muller

David Lynch’s collaborations with the great Frederick Elmes never fail to seduce, hypnotize and repulse. Blue Velvet is a classic example of Neo-Noir …and Neon-Noir Surrealism.

This is not your grandparents Film Noir... Isabella Rossellini Blue Velvet David Lynch, 1986 Cinematography | Frederick Elmes

This is not your grandparents Film Noir…
Isabella Rossellini
Blue Velvet
David Lynch, 1986
Cinematography | Frederick Elmes

Finding the image from Paul Verhoeven’s Basic Instinct was not as easy as I had expected. Most remember this film for Sharon Stone’s brave and no-hold-barred performance (and flash!) but I always think of that amazing scene where the detective enters a raving dance club to find his Femme Fatale. This is not a good example of the way Jan de Bont was able to capture the electric energy of this nightclub, but you can get the general idea. It was too masterful to leave out.

Forgive the poor quality image, but lighting intensity adds to the protagonist's adrenaline rush as he navigates a San Francisco night club. Basic Instinct Paul Verhoeven, 1992 Cinematography | Jan de Bont

Forgive the poor quality image, but lighting intensity adds to the protagonist’s adrenaline rush as he navigates a San Francisco night club.
Basic Instinct
Paul Verhoeven, 1992
Cinematography | Jan de Bont

Michael Mann had already established a magical sort of neon energy for the protagonist of Thief, but he found new ways to utilize it for the visually dazzling, HEAT.

A familiar story is captured in brilliant moments of light, shadow, form and reflection. HEAT Michael Mann, 1995 Cinematography | Dante Spinotti

A familiar story is captured in brilliant moments of light, shadow, form and reflection.
HEAT
Michael Mann, 1995
Cinematography | Dante Spinotti

Terry Gilliam and Nicola Pecorini bring neon, chaos, paranoia and delirium to Las Vegas of the late 1960’s.

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind. Fear and Loathing in Las Vegas Terry Gilliam, 1998 Cinematography | Nicola Pecorini

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind.
Fear and Loathing in Las Vegas
Terry Gilliam, 1998
Cinematography | Nicola Pecorini

Skipping ahead a few years and even Jason Statham gets the neon touch…

"Now I go back to the street and disappear." This spaces of this Neon World threaten with lighted colors. Jason Statham Steven Knight, 2013 Cinematography | Chris Menges

“Now I go back to the street and disappear.”
This spaces of this Neon World threaten with lighted colors.
Jason Statham
Steven Knight, 2013
Cinematography | Chris Menges

Yorick Le Saux adds a whole new context of meaning to Jim Jarmusch’s already cool vampiric world…

Love, Marriage and devotion in a world of neon light. Tilda Swinton and Tom Hiddleston  Only Lovers Left Alive Jim Jarmusch, 2013 Cinematography | Yorick Le Saux

Love, Marriage and devotion in a world of neon light.
Tilda Swinton and Tom Hiddleston
Only Lovers Left Alive
Jim Jarmusch, 2013
Cinematography | Yorick Le Saux

Just as one should never attempt to mention neon lighting in film without a discussion of Christoper Doyle’s masterful work — it would be tragic to not highlight Benoit Debie’s cinematography. Harmony Korine has always been astute regarding his cinematic visions, but Debie brings a hue to Spring Breakers that only he could create.

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps... Spring Breakers Harmony Korine, 2012 Cinematography | Benoit Debie

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps…
Spring Breakers
Harmony Korine, 2012
Cinematography | Benoit Debie

The critics may have dismissed Ryan Gosling feature film directorial debut, but I still contend they were wrong. If nothing else, Benoit Debie added neon drenched meanings, mystery and surreal horrors forward in Lost River. The film is not perfect, but it arches forward in simultaneously borrowed but eccentric uniqueness. In its own way, Lost River, if almost brilliant. This is no one’s standard coming of age movie.

"Live" Adult Entertainment takes a very glowing dark turn... Eva Mendes Lost River Ryan Gosling, 2014 Cinematography | Benoit Debie

“Live” Adult Entertainment takes a very glowing dark turn…
Eva Mendes
Lost River
Ryan Gosling, 2014
Cinematography | Benoit Debie

Just as Christopher Doyle will forever be linked with Kar-wai Wong — so will Benoit Debie with Gaspar Noe. It is a supreme compliment to both directors that they have been able to collaborate so beautifully with two distinctly brilliant cinematographers. While all four are linked respectively together — Wong and Noe have never been hesitant to share the credit for the power of the fieldwork.

Strong case in point, Noe actually shares cinematography credit with Debie for Irreversible. It says a great deal that I am never sure who is behind the camera in this deeply disturbing film. Irreversible is a remarkable work of cinematic art, but it is almost as problematic. One thing is most certain, the quality of the camerawork and use of lighting can only be praised. Even if you have opted to not put yourself through the inhumane horrors of this film — I suspect you will recognize this image.

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film... Irreversible Gaspar Noe, 2002 Cinematography | Benoit Debie

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film…
Irreversible
Gaspar Noe, 2002
Cinematography | Benoit Debie

And when it comes to the power of neon lighting within the context of filmmaking, one would be hard pressed to think of a better example than Gaspar Noe’s Enter The Void. Intentionally a trip of a film experience, Benoit Debie’s mark is ever-present.

"It's fucking cold." ENTER THE VOID Gaspar Noe, 2009 Cinematography | Benoit Debie | Cinematography

“It’s fucking cold.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie | Cinematography

 

"I can't believe this is real." ENTER THE VOID Gaspar Noe, 2009 Cinematography | Benoit Debie

“I can’t believe this is real.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie

And while Love may not be much of a movie, it is often amazing to watch for visuals alone. Once again, Debie infuses neon light throughout.

The Neon replaces the passion and thrills of romance and sexual release... Karl Glusman and Aomi Muyock Love Gaspar Noe, 2015 Cinematography | Benoit Debie

The Neon replaces the passion and thrills of romance and sexual release…
Karl Glusman and Aomi Muyock
Love
Gaspar Noe, 2015
Cinematography | Benoit Debie

And if there is one director who has spent a career studying and utilizing neon for filmmaking it would be Nicolas Winding Refn. Even under the constraint of a limited budget, his focus was on capturing the energy, insanity and terror of the drug underworld via lighting. The Pusher Trilogy shows what a skilled artist can do with very little.

Burning the image to neon is not new to Mr. Refn PUSHER Mads Mikkelsen Nicolas Winding Refn, 1996 Cinematography | Morten Soborg

Burning the image to neon is not new to Mr. Refn
PUSHER
Mads Mikkelsen
Nicolas Winding Refn, 1996
Cinematography | Morten Soborg

The film itself may be flawed, but Fear X is of note because it marks the first collaboration between Refn and Larry Smith. Paranoia, fear, rage, mystery and horror benefit from a very neon-ed space.

Accidental Death or murder? These spaces offer menacing paranoia. John Turturro Fear X Nicolas Winding Refn, 2003 Cinematography | Larry Smith

Accidental Death or murder? These spaces offer menacing paranoia.
John Turturro
Fear X
Nicolas Winding Refn, 2003
Cinematography | Larry Smith

2008’s Bronson is a cinematic marvel on more than a few counts — one of them is the way in which Larry Smith pushes neon to the limits to merge reality with the fantasy of Surrealism.

 

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow. Tom Hardy BRONSON Nicolas Winding Refn, 2008 Cinematography | Larry Smith

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow.
Tom Hardy
BRONSON
Nicolas Winding Refn, 2008
Cinematography | Larry Smith

Nicolas Winding Refn and Larry Smith use Drive to serve as the perfect synthesis of their shared vision. It is all about style and manipulation of light.

"Is he a bad guy?" Drive Nicolas Winding Refn, 2011 Cinematography | Newton Thomas Sigel

“Is he a bad guy?”
Drive
Nicolas Winding Refn, 2011
Cinematography | Newton Thomas Sigel

The envelope got pushed off the table and then blown toward the door for their next collaborative effort, Only God Forgives. While it is not a perfect movie, it is certainly not the flop that so many critics wanted us to believe. Only God Forgives is a metaphorical nightmare that often looks more animated than real. Odd and completely unforgettable — another exorcise in style and manipulation.

"Time to meet The Devil." Bathed in Neon, Kristin Scott Thomas isn't worried. Nicolas Winding Rein, 2013 Cinematography | Larry Smith

“Time to meet The Devil.”
Bathed in Neon, Kristin Scott Thomas isn’t worried.
Nicolas Winding Refn, 2013
Cinematography | Larry Smith

Sadly Larry Smith was not involved in Mr. Refn’s next experiment, but it is unlikely that Refn would have budged even the slightest. The title says it all. The Neon Demon is a cinematic error. This time Refn didn’t even bother to push the envelope. He simply refused to acknowledge that an envelope existed. Beautiful, seductive, twisted and so cool it is almost frozen  — The Neon Demon stands indignant and absolutely lost in the garishness of its own neon glow.

And, cue the tipping point... The Neon Demon Elle Fanning Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

And, cue the tipping point…
The Neon Demon
Elle Fanning
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Jenna Malone is the only actor who manages to walk away unscathed. Of course this Demon is so very neon, we sometimes can hardly see her.

Neon lighting so deep we can barely see it. This might be a good thing. Jenna Malone is full of beauty... The Neon Demon Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

Neon lighting so deep we can barely see it. This might be a good thing.
Jenna Malone is full of beauty…
The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

It may not work, but Natasha Braier is certainly up for the challenges her director presents.

The Neon Demon Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Matty Stanfield, 9.20.2016

 

 

 

 

2016 is now officially in the fast lane toward its end. I wanted to come up with my list of the movies that have most impressed me and discovered that very few films released this year have really impressed me. But then I realized that there were more than a few I had seen last year that were only released this year. This has helped my ability to come up with a list, but 2016 has not been a great year at the movies. Film Art created for the television is slowly taking over. Here is a list of the movies that really held my attention so far this year. Please note that I am not listing in any particular order and that these are my personal opinions. None of my opinions are connected with any distributor, film festival or artist. These are my thoughts and mine alone.

"Wouldst thou like to live deliciously?" The Witch Robert Eggers, 2015

“Wouldst thou like to live deliciously?”
The Witch
Robert Eggers, 2015

Robert Eggers’ The Witch works on both literal and metaphorical levels. It is also fairly flawless in execution, style and complete formation. Repeated viewings only further enforce its power. This is a masterful bit of Art Horror that aims far higher than being scary. Taking itself seriously, The Witch weaves a story that is as simple as it is complex.

On one level this is a straight up horror film. Jarin Blaschke’s camera work is fully intertwined with Eggers’ vision. The entire cast is exceptional. The sense of dread never lets up, but the implications of what we see come to a sharp tipping point. More than a film about evil taking over the lives of supposedly devout family of settlers, The Witch is a very dark contemplation on both the repression and oppression of women. In many ways this film points toward a parable regarding empowerment. This is an empowerment that is as grim as it is magical.

"Peek-a-boo!" The Witch Robert Eggers, 2015 Cinematography | Jarin Blaschke

“Peek-a-boo!”
The Witch
Robert Eggers, 2015
Cinematography | Jarin Blaschke

Many horror fans have expressed displeasure over this movie. For some it just isn’t scary enough, but for many of us it is chilling to the bone. Highly literate, creative and a brilliant use of a low budget — The Witch is something altogether new. A rare feat within the realm of horror filmmaking, this movie has a wider wing span.

Brady Corbet proved his skill as an actor quite a while back. He has been working since he was a child. Over the course of the last several years his career’s focus has been a bit off the grid comparatively speaking. He has worked for some expertly talented directors over better financial and fame-oriented jobs. This year he made his directorial debut and his choices as actor make perfect sense. I suspect Corbet was learning how to make films that strive to do more than simply entertain. The Childhood of a Leader is one of the most impressive actor-to-director debuts I’ve ever seen.

"A Stunning Debut." The Childhood of a Leader Brady Corbet, 2015

“A Stunning Debut.”
The Childhood of a Leader
Brady Corbet, 2015

There is nothing “safe” about The Childhood of a Leader.  This unusual film is masterful and keenly tuned into Auteur Theoretical Filmmaking. Just as it disregards filmmaking predictability, it shuns the idea of subtly.  Audacious in what it pursues, The Childhood of a Leader is not aimed at the cineplex and is not concerned with the possible difficulties it might offer members of the audience. The goals and stakes are high from beginning to end. Corbet and co-writer, Mona Fastvold, are smart enough to keep the proceedings minimal in the visual sense. There are no signs of low budget film present. Corbet has wisely invested his budget where it will benefit the highest yield.

"He's been acting out a little bit." The Childhood of a Leader Brady Corbet, 2015 Cinematography | Lol Crawley

“He’s been acting out a little bit.”
The Childhood of a Leader
Brady Corbet, 2015
Cinematography | Lol Crawley

Scott Walker was secured as the film’s musical composer and his skills / work are utilized to maximum impact. Corbet has applied the same level of trust regarding cinematography and editing. Both of these essential elements are applied with deceptively simple approaches. Lol Crawley and David Jancso bring forward their finest work. The same can be said for every artist Corbet has secured both behind and in front of the camera. And no artist involved is required to color within the lines. If there are a few cracks from strain, these flaws are minor and easily forgiven.

Do not be fooled by the impressive scoring, cinematography, editing and various styles of acting. This film’s impact is not owed singularly to any one artistic aspects. The real power belongs to a director who is unafraid to allow his excellent players the opportunity to bring forward their best respective games. Corbet confidently conducts every aspect of this movie for his orchestrated gut punch. This is artistic collaboration at its best. The Childhood of a Leader comes close to perfection. Intense, passionate and memorable — Childhood builds scene upon scene achieving a pure cinematic crescendo. It is sublime and totally apocalyptic.

"He's just a little boy..." Tom Sweet The Childhood of a Leader Brady Corbet, 2015 Cinematography | Lol Crawley

“He’s just a little boy…”
Tom Sweet
The Childhood of a Leader
Brady Corbet, 2015
Cinematography | Lol Crawley

This study in sociopathic tendencies pushes us toward a culturally shared visceral nightmare. Corbet’s film arrives at a time that makes it all the more potent. For whatever reason, IFC did very little to promote this challenging film. This is not an easy movie. It requires attention and thought, but it never bores. There is most certainly an audience for films this amazing. If you did not have the opportunity to catch it during its brief appearance on cinema screens, seek it out now. It  is currently available via VOD. I’ve seen it twice and I can’t wait to see it again.

Unlike many of my friends / associates, I have never been all that excited about Matteo Garrone’s work. I’m embarrassed to write that I passed up the opportunity to see his latest, Tale of Tales. This was my loss. I so wish I had experienced this strange film on a big screen.

"A feast for the imagination" Tale of Tales Matteo Garrone, 2016

“The equilibrium of the world must be retained.”
Tale of Tales
Matteo Garrone, 2016

Matteo Garrone’s film is adapted from Giambattista Basile’s Pentamerone, but is unfolded in a confoundedly unique manner. I always got the sense that Garrone’s visionary sense was unique, but I had no idea he was this imaginative. Surrounded by only the finest of artists, he has concocted something unexpected and unforgettable. Fantastical, gothic, dark and often disturbing — these are not the sort of “fairy tales” one would tell a child.

The presentation is “adults only,” but the lack of “lessons” or “moral points” are completely childlike. When one thinks back to the fairy tales shared with us as children, we often only remember the scary or darker details. As a child the moral compass is only starting to form. The level of experience is too limited to fully grasp the philosophical. The same can be said of this Tale of Tales.

"It was a mistake! My Love, please! John C. Riley Tale of Tales Matteo Garrone, 2016 Cinematography | Peter Suschitzky

“It was a mistake! My Love, please!
John C. Riley
Tale of Tales
Matteo Garrone, 2016
Cinematography | Peter Suschitzky

Peter Suschitzky’s cinematography here is more reminiscent of his earlier work under Ken Russell’s tutelage. Images of spaces, faces and reveals convey levels of absurdity, passion, curiosity and awestruck attention. Garrone’s film is as grotesque as it is beautiful. As provocative as it is innocent. These tales are largely unknown to American audiences. Garrone delivers them with a giddiness that is contagious.

IFC did not do a great job with theatrical promotion and I skipped the short opportunity to see it because it felt like it was going to be a low-rent copy of Terry Gilliam.

It wasn’t and it isn’t.

It received a very limited run, but is now available from the folks at Shout! Factory on DVD/Blu-ray. Tale of Tales should not be dismissed or ignored. See it.

"Could you just read the part where they kiss?" Salma Hayek Tale of Tales Matteo Garrone, 2016 Cinematography | Peter Suschitzky

“Could you just read the part where they kiss?”
Salma Hayek
Tale of Tales
Matteo Garrone, 2016
Cinematography | Peter Suschitzky

Oscilloscope Laboratories put forward a great deal of care and time in the promotion and release of Anna Rose Holmer’s The Fits. It was thanks to this that I made the effort to see the movie. I was also more than a little curious to see where ARH would take the audience. One of the most fascinating films in years, The Fits does not fit easily into a category and simply refuses all labels. The film’s promotion gave very little away regarding The Fits. It was not the movie I was anticipating. How often does that happen after we see a distribution company’s trailer?

Never flinching... The Fits Anna Rose Holmer, 2015

Never flinching…
The Fits
Anna Rose Holmer, 2015

The Fits is essentially about a young girl slipping into young adulthood, but it would be misleading to limit it to “the coming of age” troop. There is absolutely nothing expected about this movie. When I sat down to watch it for the first time it turned my expectations inside-out. Anna Rose Holmer’s film follows an eleven-year-old girl, played with disarming realism by Royalty Hightower, as attempts to shift her attention from the boys’ side of a community center to enter what she perceives as the magical other side. The girls’ side of the community center is focused on team spirit dancing.

What it feels like for a girl... Royalty Hightower The Fits Anna Rose Holmer, 2015 Cinematography | Paul Yee

What it feels like for a girl…
Royalty Hightower
The Fits
Anna Rose Holmer, 2015
Cinematography | Paul Yee

Suddenly the tomboy desires to be a member of an all female dance team. More than a little unsure of herself and the young women who she knows occupy the thoughts of the boys with whom she has always played, Toni must decide if she has what it takes to fit in with this feminine bunch. This is a visual and auditory film experience. The dialogue is limited, but when we are allowed to hear what Toni hears it is crucial information.

One more week, ladies!” a woman coach announces to the young women. Adults do not figure into Toni‘s perception of her world. They are not yet key players, but Toni hears the adults when it is required. The marker of a week becomes an important tracker within the film’s story. Toni’s decision to attempt to assimilate is crucial. ARH never demonstrates the least amount of bombast or over-statement of actions, but we understand that Toni’s every movement is a key predictor to her future.

Paul Yee’s camerawork is tight and fluid all at once. Composers, Danny Bensi and Saunder Jurriaans, provide the film with a hypnotic musical score. Anna Rose Holmer, like Brady Corbet, is unafraid to share the glory. I point this out because the collaborative element of filmmaking seems to be once again slipping away from many film productions. ARH fully utilizes all artists involved to spark her film into life. The Fits does not merely spark to life, it is almost a living organism unto itself. What happens in The Fits is not a totally unique turn, but the way in which the film’s dance moves are constructed / conveyed is jaw-dropping.

It's not what you think... Royalty Hightower The Fits Anna Rose Holmer, 2015 Cinematography | Paul Yee

It’s not what you think…
Royalty Hightower
The Fits
Anna Rose Holmer, 2015
Cinematography | Paul Yee

A child’s attempts to join a dance team form into something that edges well beyond any expected boundary. Often disturbing, mysterious, strange, sensual and magical — The Fits is cinematic poetry. Many cringe at the intermingling of words like cinema and poetry. This mashup has become over-used, but never has the concept fit better than attributing it here. Anna Rose Holmer did not need a big budget to make her movie breathe, throb, squirm and float magically to life. This movie never falters in its movements toward alchemy. The Fits is not a movie that a film lover can afford to miss.

"Let's be clear. It won't end well." Green Room Jeremy Saulnier, 2015

“Let’s be clear. It won’t end well.”
Green Room
Jeremy Saulnier, 2015

Jeremy Saulnier’s film manages to establish all characters with minimal screen time or information, but this does not mean that we do not know these characters. Green Room speaks to Saulnier’s ability as an exceptional storyteller who can put forward all required quickly thanks to the way in which he writes and shoots. We know everything we need to know about the members of a desperate and rag-tag American Hardcore band within less than ten minutes.

An odd but exceptional casting choice. Patrick Stewart Green Room Jeremy Saulnier, 2015 Cinematography | Sean Porter

An odd but exceptional casting choice.
Patrick Stewart
Green Room
Jeremy Saulnier, 2015
Cinematography | Sean Porter

Green Room‘s horrors come fast and are packed with surprisingly intense cruelty. Even more surprising is the fact that this film is perversely fun but never lacking in realism. Green Room takes itself seriously. When our messy heroes decide to piss off their Fascist audience by crashing into a wicked cover of The Dead Kennedy’s “Nazi Punks Fuck Off,” the comedy of the moment is stained with the menacing reality of their situation. It is difficult to articulate why this movie is so much fun, but sick fun it is. Alia Shaukat, Patrick Stewart, Imogen Poots and the late Anton Yeltsin deliver top tier work for this twisted cinematic adventure. Always pushing past the normal boundaries of the exploitation genre, Green Room is close to brilliant.

A down-and-out hardcore band's gig takes more than a couple of very bad turns... Green Room Jeremy Saulnier, 2015 Cinematography | Sean Porter

A down-and-out hardcore band’s gig takes more than a couple of very bad turns…
Green Room
Jeremy Saulnier, 2015
Cinematography | Sean Porter

Karyn Kusama’s The Invitation is another movie that cleverly pushes beyond the horror exploitation genre. This is a highly effective example of not only great storytelling, but the power of tight cinematic construction. Kusama has mastered the basics of movie making to a point that she manipulate all of them to create something exceptional that in the hands of another filmmaker would play as tired or even predictable.

"There is nothing to be afraid of" The Invitation Karyn Kusama, 2015

“There is nothing to be afraid of”
The Invitation
Karyn Kusama, 2015

The Invitation never pushes itself so much that the low-budget is reflected and Kusama is not aiming to re-invent the wheel, but she adheres to smart editing, clever writing and talented actors to create an expanding element of suspense, dread and fear. As the movie leads into what appears to be The Dinner Party from Hell, we become invested and ultimately shocked. What probably should have been a mediocre film has been transformed into a highly entertaining and mesmerizing exercise in cinematic horror. I feel this is one of the best films we will see this year.

Maybe this guest is just paranoid. Logan Marshall-Green The Invitation Karyn Kusama, 2015 Cinematography | Bobby Shore

Maybe this guest is just paranoid.
Logan Marshall-Green
The Invitation
Karyn Kusama, 2015
Cinematography | Bobby Shore

Mickey Keating is all of twenty-five years of age and he has already accomplished more than most film artists can muster in an entire career. It is still unclear if he plans to move beyond the horror film genre, but it does not really matter. Having been mentored by the great Larry Fessenden, this filmmaker has already cemented a place among horror fans. Keating made two films for 2015 release. The first, POD, is an exceptional cinematic brew of paranoia and human horror. The second film did not actually secure a release date until 2016 and it is one of the most impressive films of the year.

"A lonely girl's violent descent into madness..." Darling Mickey Keating, 2015

“A lonely girl’s violent descent into madness…”
Darling
Mickey Keating, 2015

What Keating’s Darling lacks in originality is made up for by stylization and expertly modulated cinematic manipulation. Intended as much as an ode to the great psycho-dramas of the 1960’s/1970’s as full stand alone movie, Darling is so well made that it manages to morph itself into something borrowed but very new. This slow-burn psychological horror movie transcends extreme budgetary limitations and pulls the audience into a hypnotically disturbing ride into madness.

"Don't concern yourself with that room, dear." Sean Young Darling Mickey Keating, 2015 Cinematography | Mac Fisken

“Don’t concern yourself with that room, dear.”
Sean Young
Darling
Mickey Keating, 2015
Cinematography | Mac Fisken

Filmed in simplistic video black and white, Mickey Keating sets the mood immediately and is unrelenting in holding us there through to the film’s final image. Sean Young makes a brief but memorable appearance that allows Keating to establish everything in a matter of a few minutes. Clearly inspired by Roman Polanski, William Friedkin, Ingmar Bergman and more than a little Robert Altman — Keating’s cinematic exorcise demonstrates not only his knowledge but his resourceful skills. The young director is having a blast and so does his audience. Though it should be pointed out that this fun comes with more than a little white-knuckle suspense, tension and horror.

"I was waiting for you." Lauren Ashley Carter Darling Mickey Keating, 2015 Cinematography | Mac Fisken

“I was waiting for you.”
Lauren Ashley Carter
Darling
Mickey Keating, 2015
Cinematography | Mac Fisken

Mac Fisken’s cinematography is meticulous and easily recalls a sort of mashup of Gordon Willis, Gilbert Taylor and Sven Nyqvist. Yes, you read me right. Fisken manages to recreate visual suspense intermingled with beauty. Valerie Krulfeifer’s editing is a perfect match for Keating’s odd retro-horror stylings. Fiona Ostinelli’s musical score is equally effective. But the key collaborating artist is actor, Lauren Ashley Carter. In the film’s title role, this actor’s babydoll eyes and on-screen presence manage to not only win us over — she is able to spin these aspects on a dime. While we do like her — she is also able to repulse us. This actress literally haunts the screen.

" I don't think you realize what a godsend you are." Darling Mickey Keating, 2015 Cinematography | Mac Fisken

” I don’t think you realize what a godsend you are.”
Darling
Mickey Keating, 2015
Cinematography | Mac Fisken

Unconcerned with plot, Darling has only two true goals: it wants to get under the skin, but then it intends to imprint into our brains. It achieves both. Low-fi but exceptionally crafted from all perspectives — Darling signals that Mickey Keating is playing for keeps. His second film of this year is currently in cinemas. Carnage Park has a bigger budget than both POD and Darling and it is a solid horror film, but it lacks Darling‘s power punch. I walked out of Darling a fan.

There was no way Ben Wheatley’s High-Rise would match the media promotion that launched it. I knew that going in, but I was under-whelmed with this adaptation of JG Ballard. Impeccable production values, cinematography and exceptional performances — High-Rise should have worked, but it fell short. So to speak. Ballard’s High-Rise is a complex and dated novel. It might not have helped that Amy Jump and Ben Wheatley opted to keep it all grounded in the original time period. The smart use of Thatcher’s infamous speech at the close was a good one, but it came a bit late into the film’s game.

"Welcome to the high life..." High-Rise Ben Wheatley, 2015

“Welcome to the high life…”
High-Rise
Ben Wheatley, 2015

The mixing of satire with dark comedy loses focus. This could largely be related to the fact that the punch of the story has lost much meaning some 40 years later. Ballard’s ideas rooted in that decade often feel more “twee” than “provocative.” There is not enough context to understand why “we” are in the 1970’s. Without directly mooring Ballard’s ideas to the 21st Century, much of what he was thinking feels flimsy within the trappings of Wheatley’s chosen genres of satire and comedy. It is also hard to fathom the task of capturing Ballard’s novel in a 2 hour movie. The actions in High-Rise move far too quickly to really understand.

"Looks like the rot's set in." Tom Hiddleston goes for broke... High-Rise Ben Wheatley, 2015 Cinematography | Laurie Rose

“Looks like the rot’s set in.”
Tom Hiddleston goes for broke…
High-Rise
Ben Wheatley, 2015
Cinematography | Laurie Rose

It’s as if the pears sold on the shopping floor are ripe one minute and then rotting the next.  The building’s descent into madness and chaos is presented here as an extreme switch. Wheatley does not give the movie enough time to chart the plot’s key initiative. The actual connection of the doctor’s professional life to the new place he inhabits is never fully formed. I find it hard to understand why we even needed to follow the doctor’s fall into professional lethargy. I was also confused by the excessive use of Hiddleston as a sex object. I have no problem with it, but I do not understand why this was important. And worst of all, the connections between the residents is never fully fleshed-out. These people are over-sexed but it is not presented in the appropriate context. It is a hazy mess of societal revolution, sexual perversity and insanity.

A fall from the upper class... High-Rise Ben Wheatley, 2015 Cinematography | Laurie Rose

A fall from the upper class…
High-Rise
Ben Wheatley, 2015
Cinematography | Laurie Rose

High-Rise is flawed, but credit must be given to an independent film that strives to be this ambitious. High-Rise attempts to do so much. Sadly most of these attempts are simply out of reach. Or maybe I’m mistaken. It is quite possible that Ben Wheatley might be ahead of the curve. My opinion regarding High-Rise might shift as the years go by. I know my opinion has improved with only four viewings. And I’m certain I will be watching it again. When I take into account that I have seen this film five times, I feel obliged to include it in my list.

Yes, it is a very unconventional love story... The Lobster Yorgos Lanthimos, 2015

Yes, it is a very unconventional love story…
The Lobster
Yorgos Lanthimos, 2015

No one can complain that Yorgos Lanthimos’ The Lobster isn’t a unique. Lanthimos addresses some of humanity’s deepest concerns and challenges by use of a Surrealistic bit of Existentialism gone to Absurdist artistic gestures. The most surprising aspect of The Lobster is that is intentional not funny. It is also not limited by what might seem like a One-Joke Idea. Loneliness, isolation, desperation and the craving for meaningful connections are never treated as comical. While there are comical elements to the situations, this is a dramatic film. The situation is a result of societal judgment. A judgement that lands these lost souls to a last resort to secure a life partner or face being turned from human into an animal. For the most part, this situations are rendered relatable. Colin Farrell delivers his best on-screen performance as a recently jilted man who doesn’t seem to be able to find his footing in life. He is the sole reason this film resonates so well. He is a sort of “Every Man” who has gotten lost in the shuffle of his life.

" Back then, he didn't know how much it hurts to be alone..." Colin Farrell The Lobster Yorgos Lanthimos, 2015 Cinematography | Thimios Bakatakis

” Back then, he didn’t know how much it hurts to be alone…”
Colin Farrell
The Lobster
Yorgos Lanthimos, 2015
Cinematography | Thimios Bakatakis

He didn’t burst into tears and he didn’t think that the first thing most people do when they realize someone doesn’t love them anymore is cry,” Rachel Weisz’s emotionlessly blunt narration tell us. It is up to Farrell to provide the emotional resonation. And he does. It will be interesting to see if the Hollywood Power Elite choose to allow him an Oscar nomination. He does deserve it.

As this story of uncomfortable misfits attempting to attract a partner, or remain human or live as hunted loners — The Lobster lulls us into thinking that things just might work out. Lanthimos’ isn’t going to let anyone off easily. Our protagonist is not exactly the kind fellow you might expect. He, too, is capable of extremes to avoid a great deal. David can be cruel and he often feels little to no pity for others. In many ways, David is the ideal protagonist for The Lobster. The film’s resolution offers a truly sharp edged view of what we are willing to do for love — perhaps even a delusion of love. The Lobster offers no comfort or easy outs.

"I'm going to do it with a knife." Colin Farrell The Lobster Yorgos Lanthimos, 2015 Cinematography | Thimios Bakatakis

“I’m going to do it with a knife.”
Colin Farrell
The Lobster
Yorgos Lanthimos, 2015
Cinematography | Thimios Bakatakis

The film’s first act is amazing. The second half becomes a bit sluggish. And the Michael Haneke -ish ending note is not the surprising gut-punch that Lanthimos was most likely going for, but it does make a point. It is a memorable film. My main objection to keeping this film as one of my favorites is that it ultimately disappointed me. In comparison to both Dogtooth and Alps, The Lobster seems weak. I list it here because it does stand out as one of the better films of the year. If this 2015-intended film had actually come out last year it would not have made my list. The Lobster feels like a bit of compromise. Lanthimos can do better. And he should.

This might be fantastic... Isabelle Huppert Things to Come Mia Hansen-Løve, 2016 Cinematography | Denis Lenoir

This might be fantastic…
Isabelle Huppert
Things to Come
Mia Hansen-Løve, 2016
Cinematography | Denis Lenoir

The year is not done and my list of favorites could change, but I somehow doubt it. I do have high hopes for Isabelle Huppert’s collaborations with both Paul Verhoeven (Elle) and Mia Hansen-Løve (Things to Come) Both have some strong buzz, but this sort of buzz has been off before.

On paper, it seems like the perfect director and lead actor for the subject matter. But I can't be the only person now suspecting that it's not going to work. ? Joseph Gordon-Levitt SNOWDEN Oliver Stone, 2016 Cinematography | Anthony Dod Mantle

On paper, it seems like the perfect director and lead actor for the subject matter. But I can’t be the only person now suspecting that it’s not going to work. ?
Joseph Gordon-Levitt
SNOWDEN
Oliver Stone, 2016
Cinematography | Anthony Dod Mantle

Time will tell. And I’ve a growing worry that Snowden is destined to fail. I hope I’m wrong. But of the films listed for release between now and year’s end, this was the one that seemed the most exciting.

We will see…

Matty Stanfield, 9.9.2016

*** ADDENDUM!!!

I’m an idiot who often attempts to do too many things at one time. In the above blog post I wrote, “But of the films listed for release between now and year’s end, this was the one that seemed the most exciting.” This is a major error on my part.

In that sentence I was referring to Oliver Stone’s Snowden. I have a roster of upcoming film releases. I track film releases with this roster. I had printed an updated roster this past Monday. As I marked the upcoming films that I am waiting to see, I marked Elle, Things to Come and Snowden. I somehow failed to mark a fourth film that I am very eager to see.

"She loved men..." The Love Witch Anna Biller, 2016

“She loved men…”
The Love Witch
Anna Biller, 2016

Anna Biller is a Film Artist I’ve been following since the late 1990’s when she made a short entitled, Fairy Ballet. Back in 2007 she made a brilliant feature film, Viva, which remains firmly imprinted in my psyche. Never one to compromise her vision or voice, I was worried that it might take a long time to have the opportunity to see her latest film, The Love Witch. The media industry of the 21st Century has never been more hostile toward original visionary work than it is right now. But there are still a few distributors who are more interested in quality than major studio concerns regarding conforming to concepts of mainstream appeal — Oscilloscope Laboratories demonstrated their savvy when they secured distribution rights for The Love Witch!

Will the use of The Craft bring her love? Samantha Robinson The Love Witch Anna Biller, 2016 Cinematography | M. David Mullen

Will the use of The Craft bring her love?
Samantha Robinson
The Love Witch
Anna Biller, 2016
Cinematography | M. David Mullen

What really puzzles me about my error in not only marking but mentioning the inevitableness that I will love Ms. Biller’s new film is that I’ve been following this film so closely over the last several months. D’oh!

But Anna Miller’s The Love Witch is a film that is destined to make my list for Favorite Films of 2016. And, no, I am not headed into the cinema with anticipations that will fail to live up to the work on the screen. Ms. Biller is one of those filmmakers who consistently manage to construct work that entices me.

Samantha Robinson The Love Witch Anna Biller, 2016 Cinematography | M. David Mullen

Coming soon… Samantha Robinson
The Love Witch
Anna Biller, 2016
Cinematography | M. David Mullen

So for the record, I’m very excited about this upcoming film. I apologize for failing to mention in my initial post.  A note of thanks to Dave for the call!

M. Stanfield, 9.10.2016

 

 

 

We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.” —  Michelangelo Antonioni

"Nothing like a little disaster for sorting things out." Blow-Up Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

“Nothing like a little disaster for sorting things out.”
Blow-Up
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

The most important films of Michelangelo Antonioni’s career came in the early 1960’s when he placed his muse, Monica Vitti, at the core of plots involving alienation within the spacial landscapes that furthered her character’s emotional turmoil. She was the perfect actor for these roles which required an odd intermixing of passion, panic, eroticism and almost overwhelming passive boredom. Writing this description it is hard to understand how she was able to do it.

There are very few film actresses that look anything like she did. In Antonioni’s films she seems like she might fall over at any moment and yet oppositional in that she also seems capable of knocking anyone down who might get in her way. In these films, Monica Vitti is both passive and aggressively demanding. She presented a sort of quiet introspection that threatens as much as it begs. Like Antonioni’s camera she is lost within the framework of her surroundings. As his films progressed her characters seemed to be simultaneously formed, informed and destroyed by every “thing” around her.

"A new adventure in filmmaking..." Monica Vitti contemplates. L'Avventura Michelangelo Antonioni, 1960 Cinematography | Aldo Scavarda

“A new adventure in filmmaking…”
Monica Vitti contemplates.
L’Avventura
Michelangelo Antonioni, 1960
Cinematography | Aldo Scavarda

1960’s L’Aventura is entirely dependent upon Monica Vitti’s presence. Vitti has such a strongly unique erotic charisma, being and mystifying beauty and everything that happens in the film requires her to make it believable. It is impossible for the viewer to take their eyes off of her. Within only a few minutes of Claudia entering the camera’s frame, the audience is placed in a surprisingly uncomfortable position.

Is this young woman someone we can trust? Do her actions seem disconnected from her motivation?

It says a great deal that we contemplate these ideas so early on. As the film moves forward the viewer must decide if Claudia is actually concerned or simply curious. There seems to be a deception playing out within the geographical and interior spaces.

lavventura-movie-poster-1960-1020428776

L’Avventura Michelangelo Antonioni, 1960

 

Antonioni finds ways to casually push a suspicious and possibly tragic disappearance further way from his film’s plot. What at first seems like an essential motivation for Claudia and that of her vanished friend’s lover eventually becomes nothing more than a back story. By the time the film drifts to its midpoint, the audience becomes accomplices in Claudia‘s warped journey. Like her, we no longer care longer about this missing friend, daughter and fiancee. Our primary concern becomes the possibility of love between Claudia and the “worried” fiancee. There is an ever unsettling feeling that the two leading characters hope the respective friend and lover is never found. The real kick-spin is that both have different reasons for wishing this woman to stay vanished. It is an alarming shift of gears that doesn’t really hit you until the “Fine” title card emerges on the screen.

 

Gabriele Ferzetti and Monica Vitti L'Avventura Michelangelo Antonioni, 1960 Cinematography | Aldo Scavarda

Gabriele Ferzetti and Monica Vitti
L’Avventura
Michelangelo Antonioni, 1960
Cinematography | Aldo Scavarda

 

Gabriele Ferzetti and Monica Vitti L'Avventura Michelangelo Antonioni, 1960 Cinematography | Aldo Scavarda

Gabriele Ferzetti and Monica Vitti
L’Avventura
Michelangelo Antonioni, 1960
Cinematography | Aldo Scavarda

 

Is she thinking of her friend or obsessing about herself? Monica Vitti L'Avventura Michelangelo Antonioni, 1960 Cinematography | Aldo Scavarda

Is she thinking of her friend or obsessing about herself?
Monica Vitti
L’Avventura
Michelangelo Antonioni, 1960
Cinematography | Aldo Scavarda

 

1961’s La Notte is less interested in telling a story than pulling the audience into a different world. The world in which we find ourselves alternates between cold and intimidating to abandoned and decaying. It seems to be in a state of change that threatens to push our characters even further into isolation. The film is an effective, textured and sensual exploration of a specific place during a specific moment in time. The time is 1961 and the place is Milan.

 

“I no longer have inspirations, only recollections.” La Notte Michelangelo Antonioni, 1961

 

La Notte Michelangelo Antonioni, 1961 Cinematography | Gianni Di Venanzo

La Notte
Michelangelo Antonioni, 1961
Cinematography | Gianni Di Venanzo

The modern architecture is carefully photographed and it seems to reflect, deflect and motivate the film’s characters. The schism between the ultra-modern designs and the remainders of pre-WWII Italy the audience is allowed to see seems to play roles in the way characters relate or fail to relate to one another. The old and dilapidated appear to be falling away and replaced with sleek and modern youth. The same appears to be happening to a married couple. As we follow the two halves of a near middle-age couple roam through their day and evening ideas fill both the screen and the mind.

Jeanne Moreau's character is reduced in self-worth and hope as she wanders the streets of Milan. La Notte Michelangelo Antonioni, 1961 Cinematography | Gianni Di Venanzo

Jeanne Moreau’s character is reduced in self-worth and hope as she wanders the streets of Milan.
La Notte
Michelangelo Antonioni, 1961
Cinematography | Gianni Di Venanzo

The ideas do not form a unified thought or purpose. Nor does the roaming lead to anywhere specific. This is the point.

Jeanne Moreau roams the mansion while Monica Vitti basks in her boredom... La Notte Michelangelo Antonioni, 1961 Cinematography | Gianni Di Venanzo

Jeanne Moreau roams the mansion while Monica Vitti basks in her boredom…
La Notte
Michelangelo Antonioni, 1961
Cinematography | Gianni Di Venanzo

As the old falls away so do the walls that have protected generations from exposure are now given way to a certain transparency that forces the characters to see the truth of not only strangers but of each other. A brilliantly effective, evocative and sensual mood piece of European cinema. An ideal film for a viewer who likes to think and experience an art form.

Jeanne Moreau and Marcello Mastroianni fail to connect. Monica Vitti listens in... La Notte Michelangelo Antonioni, 1961 Cinematography | Gianni Di Venanzo

Jeanne Moreau and Marcello Mastroianni fail to connect. Monica Vitti listens in…
La Notte
Michelangelo Antonioni, 1961
Cinematography | Gianni Di Venanzo

It is unlikely that it will appeal to those who seek out movies for story and escapism, but it is hard to imagine a more human experience. Hearts are damaged and there seems to be no comfort found in a marriage that has failed to flourish alongside the urban civilization that is only beginning to sprawl. The ideas associated with architecture mirroring its inhabitants is again pursued by Antonioni’s next film, L’Eclisse.

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L’Eclisse Michelangelo Antonioni, 1962

Michelangelo Antonioni’s vision is perhaps most strongly applied with L’Eclisse. This movie has become better every time I see it. It is framed as a love story, but the actual focus takes on a deeper perspective regarding the mixed and differing feelings between two would-be-lovers. The architecture of La Notte often fights to be a leading character. L’eclipse embraces both Monica Vitti and Alain Delon as the primary characters, but the architecture seems to emerge as a third.

Alain Delon and Monica Vitti are actually fitting into their environment, but are their emotions? L'Eclisse Michelangelo Antonioni, 1962 Cinematography | Gianni Di Venanzo

Alain Delon and Monica Vitti are actually fitting into their environment, but are their emotions?
L’Eclisse
Michelangelo Antonioni, 1962
Cinematography | Gianni Di Venanzo

Post WWII Rome’s architectural conflict is very much present, however it often feels like the two human characters are informing it rather than the other way around. Gianni Di Venxnzo’s cinematography fully utilizes the Rome land/inner-scapes, but our two characters are essential elements in their mutual and respective worlds. Minimal in the way of speech, Antonioni still expertly captures two young people and a city in the midst of adapting to post-war changes.

There is a great more between these two lovers than a structural support column. Michelangelo Antonioni, 1962 Cinematography | Gianni Di Venanzo

There is a great more between these two lovers than a structural support column.
Michelangelo Antonioni, 1962
Cinematography | Gianni Di Venanzo

Nearly every emotion or concern felt is reflected back to them from the buildings, walls and all surroundings within which they are attempting to live, grow and love. It as if this “love” is wanting to return to the old world comforts. The problem facing both characters is how can they use love in a modern world that refuses to go back? If there were to be a means of escape, would they lose more if they left?  An essential and magical film.

A poster seems to be offering an escape, but it could be a trap of another sort. L'Eclisse Michelangelo Antonioni, 1962 Cinematography | Gianni Di Venanzo

A poster seems to be offering an escape, but it could be a trap of another sort.
L’Eclisse
Michelangelo Antonioni, 1962
Cinematography | Gianni Di Venanzo

In 1964 Antonioni hired Carlo Di Palma as his cinematographer. He shot Red DesertIl deserto rosso in color. This film is deceptively beautiful because society’s landscape and territory are no longer simply imposing and reflecting emotions. In Red Desert the man-made structural landscapes and architecture is actually attacking the film’s leading character. Monica Vitti’s Giuliana is not merely trapped within the identity and isolation imposed by her environment — she is suffering as her environment is literally attacking her. The world in which Giuliana moves is toxic.

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In dying color… Red Desert Michelangelo Antonioni, 1964 Cinematography | Carlo Di Palma

Unforgettable and operatic in her performance as a mentally unstable wife/mother, Monica Vitti becomes a walking analogy for the environment in which she must live. Surrounded by the bleakness of destructive industrial plants and the cold interiors which have been created in the surrounding suburbs. Red Desert marks a major turn in Antonioni’s vision regarding the human condition and surrounding environments.

Monica Vitti takes a walk in a post-industrial nightmare. Red Desert Michelangelo Antonioni, 1964 Cinematography | Carlo Di Palma

Monica Vitti takes a walk in a post-industrial nightmare.
Red Desert
Michelangelo Antonioni, 1964
Cinematography | Carlo Di Palma

 

"I dreamed I was in bed and the bed was moving. I looked down and it was on quicksand. It was sinking deeper and deeper." Monica Vitti Red Desert Michelangelo Antonioni, 1964 Cinematography | Carlo Di Palma

“I dreamed I was in bed and the bed was moving. I looked down and it was on quicksand. It was sinking deeper and deeper.”
Monica Vitti
Red Desert
Michelangelo
Antonioni, 1964
Cinematography | Carlo Di Palma

The captured images are surprisingly lovely, but the meanings conveyed through them come close to post-industrial horror. In many ways this film is the most experimental the director had ever made. He is clearly in love with Vitti and renders her unique beauty in the most sensual of ways. And while this movie is obviously aimed to be societal commentary, it also features a fascinating performance. As Monica Vitti forms her character she lends the film a possibility of other meanings.

"She loved that spot. The colors of nature were so beautiful, and there was no noise. She'd leave only when the sun did too." Red Desert Michelangelo Antonioni, 1964 Cinematography | Carlo Di Palma

“She loved that spot. The colors of nature were so beautiful, and there was no noise. She’d leave only when the sun did too.”
Red Desert
Michelangelo Antonioni, 1964
Cinematography | Carlo Di Palma

This is realism and one is never quite sure if perhaps her challenges might be more connected to mental illness than environmental. It is easy to imagine Todd Haynes taking notes. It is hard to imagine that Red Desert did not inform his brilliant 1990’s Safe. While Red Desert is most certainly a turn in a different direction for Antonioni, his next film really swerved off his expected cinematic path.

“What do you they call you in bed?” Blow-Up Michelangelo Antonioni, 1966

Blow-Up finds Antonioni in a different country and films the entire film in English. This infamous 1966 film offered more than just a language and location change. Gone is the angst-ridden female protagonist. Monica Vitti is no where in sight. The new protagonist is a young man enjoying, manipulating, exploiting and indulging in the expanding excesses of Swinging London. David Hemmings plays a sly, bored and seemingly hollow fashion photographer who pursues sex and human connection with the same amount of passive interest as a random purchase at an antique store.

For our protagonist, models are not people. They are objects that he arranges.  Blow-Up Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

For our protagonist, models are not people. They are objects that he arranges.
Blow-Up
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

Not without talent, Thomas is an emerging hot talent in the world of Fashion photography. He is clearly well paid, but not yet where he wants to be. Women are no longer people to this man, they are pretty little things he photographs and seduces. Actually, he doesn’t bother with seduction. The hot young women are as hungry for fame as he is for money. People do not seem to hold much value for Thomas. Surrounded by the excitement of his city and the era in which he moves, Antonioni establishes that his protagonist is not enjoying much of anything.

It's all in a day's work... Blow-Up Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

It’s all in a day’s work…
Blow-Up
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

It is isn’t until he makes the mistake of photographing a private moment between two lovers in a park that he is forced to actually re-evaluate his measure as a human being. Antonioni crafts a magical film. Make no mistake, he captures the ambiance of 1960’s Swinging London with the same carefully articulated method he applied to the re-emerging post-WWII Italy.

Is it just a pretty picture?  Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

Is it just a pretty picture?
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

The film is slowly paced as it begins to pull the audience into the photographer’s depressingly vacuous world. But then, just as the audience thinks Blow-Up is taking in a certain direction the gears shift. Antonioni offers something that he has never given the audience before: A Hitchcockian plot twist that would have served any other filmmaker in a dramatically different way.

Not your typical Swinging London Party Girl, Vanessa Redgrave assess the photographer, the situation and her options.  Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

Not your typical Swinging London Party Girl, Vanessa Redgrave assess the photographer, the situation and her options.
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

 

Vanessa Redgrave’s Jane rushes into the film like a breeze of erotic curiosity and panic. Her visit to the photographer’s home and studio should lead the film in a what seems the logical place — instead this scene serves as a catalyst for introspection. As Thomas rushes through his study to blow-up the negatives of Jane‘s seemingly romantic entanglement in the park, he shows an unexpected aspect of himself. Thomas is actually interested in understanding why Jane was so desperate to secure the film he had taken of she and a lover in the park.

For the first time in the film, David Hemmings shows some passion in his pursuit of understanding. Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

For the first time in the film, David Hemmings shows some passion in his pursuit of understanding.
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

David Hemmings’ Thomas has no connection to Monica Vitti’s Antonioni’s characters. He is not alienated. He is neither riddled with insecurity, ennui or angst of any sort. He sees something he wants, he puts forward only the required energy or money to get it. But as an artist, Thomas is curious. Of course Blow-Up wants the viewer to think it is a thriller. Once the twist is revealed, Antonioni shifts cinematic gears once more. If one must call this movie a thriller, then that person most likely needs to Anti to the term. This is one thrill that turns against the protagonist inward toward self-introspection. In some ways the cost of the plot’s thrill is far more horrifying than the stalking of a killer. Thomas soon finds himself not so much in pursuit of the answer to a mystery — he is left to contemplate the empty shell of a person he has allowed himself to become.

"What did you see in that park?" Michelangelo Antonioni, 1966 Cinematography | Carlo Di Palma

“What did you see in that park?”
Michelangelo Antonioni, 1966
Cinematography | Carlo Di Palma

Less a mystery of human cruelty as it is a study humanity lost in decadence. In the end Thomas has more in common with the female protagonists of Michelangelo Antonioni’s Italian films. The only real difference is that he is male and has been allowed more access to freedom. That societally entitled power takes him no closer to fulfillment.

Matty Stanfield, 5.16.2016

 

How? Why? REPULSION Roman Polanski, 1965

How? Why?
REPULSION
Roman Polanski, 1965

It didn’t quite make him a household name, but Roman Polanski’s low-budget psychological thriller, Repulsion, would spark a fracture in cinema that inspired countless film artists. Three years later he would permanently place himself in both popular and high art culture with the release of Rosemary’s Baby. But it was in 1962 that Polanski made a very deep mark with his razor sharp psychological thriller, Knife in the Water.

Armed with a some basic handheld cameras, a very small budget, one sailboat and three actors — Polanski and his cinematographer, Jerzy Lipman, managed to create an unforgettable film. Capturing characters, space, eroticism, tension and suspense in some of the most elegantly simplistic ways, Knife in the Water sears into the mind’s eye.

Playing at The Beekman! Knife in the Water Roman Polanski, 1962

Playing at The Beekman!
Knife in the Water
Roman Polanski, 1962

 

*** These shots vary in quality as the newly remastered version has yet to be released to Blu-Ray, but it will be available in the near future.

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Knife in the Water

Roman Polanski, 1962

Cinematography, Jerzy Lipman

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“Give me back my knife.”

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” So, you do know how to swim.”

 

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“You’re just like him… only half his age, and twice as dumb.”

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” Sailors get mast-headed for that…”

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“You’ve drowned a boy.”

still-of-zygmunt-malanowicz-in-knife-in-the-water-(1962)-large-picture

Matty Stanfield, 5.3.2016

 

I really do not care for the term “Mumblecore.” This term feels like an insult to the films and artists who have emerged within this assigned “genre.” Labels are always problematic. But we humans love to categorize and label. Admittedly I am the first to reject a label assigned to me and often the first to assign one. I do like things to be organized. So just in case you are unaware I will provide definitions and examples for two terms.

The heart and soul gets investigated, critiqued and exposed in Joe Swanberg's mumblecore Full Moon Trilogy. JOE SWANBERG: COLLECTED FILMS 2011 DVD Box Set from Factory 25 http://www.factorytwentyfive.com/joe-swanberg-collected-films-2/

The heart and soul gets investigated, critiqued and exposed in Joe Swanberg’s mumblecore Full Moon Trilogy.
JOE SWANBERG: COLLECTED FILMS 2011
DVD Box Set from
Factory 25
http://www.factorytwentyfive.com/joe-swanberg-collected-films-2/

Mumblecore refers to a subgenre of low-budget independent film in which focus is placed on dialogue over traditional plot. Mumblecore films utilize naturalism which is not only limited to dialogue and performance but usually extends to the manner in which production is executed. The concept of plot takes on a sort of organic or even seemingly accidental and it usually revolves around relationship issues clouded by the characters’ inability to articulate individual emotions or the lack of understanding individualistic identities. I have always felt this fairly new subgenre is really an extension of the early La Nouvelle Vague films that come out of France as the 20th Century began to move into the 1960’s. The style of the French New Wave was often less about choice as it was about limited budgets. No matter the intention, this wave of film ushered in whole new manners of speech within cinematic language. Mumblecore has also played a huge influence into the mainstream of film and television.

He may have directed it, but Frances Ha ties itself to both Mumblecore and The French New Wave with ease. And it reached a very large audience. Frances Ha Noah Baumbach, 2012 Cinematography | Sam Levy

He may have directed it, but Frances Ha ties itself to both Mumblecore and The French New Wave with ease. And it reached a very large audience.
Frances Ha
Noah Baumbach, 2012
Cinematography | Sam Levy

As an example of Mumblecore I offer a film made long before the idea of Mumblecore existed:  Eric Rohmer’s Pauline at the Beach (1983) –  A highly acclaimed film running for 90 minutes about little more than three irresponsible adults confused about what love is and how to secure it. In this quietly brilliant film, there is no real plot. The dialogue feels improvised. It is the teenage title character who seems to have even a remote understanding of love and life. The film has no visual style. It is slowly paced. But when Pauline leaves and the credits begin to roll an unexpected punch has been delivered. Kentucker Audley’s Team Picture (2007) Andrew Bujalski’s Beeswax (2009) Dustin Guy Defa’s Bad Fever (2012) and Lynn Shelton’s Humpday all lead the audience to similar melancholy conclusions.

Feodor Atkine and Arielle Dombasle have very different ideas related to "love" Pauline at the Beach Eric Rohmer, 1983 Cinematography | Nestor Almendros

Feodor Atkine and Arielle Dombasle have very different ideas related to “love”
Pauline at the Beach
Eric Rohmer, 1983
Cinematography | Nestor Almendros

Meta-Film is also often called Metacinema and it is used to describe films that are either about the filmmaking process, business or movies that dare to break the fourth wall or even present a film within a film. The concept of the Meta-Film is directly related to the literary device of Metafiction. Examples of Meta-Films are Annie Hall, Adaptation, Fight Club, Sunset Blvd, Ferris Bueller’s Day Off, Synecdoche, New York and Mulholland Drive. As you will note the genre, tone and intention of the Meta-Film unlimited. My personal favorite example of the MetaFilm is Francois Truffaut’s acclaimed Day for Night (1973)

"Making a film is like a stagecoach ride in the old west. When you start, you are hoping for a pleasant trip. By the halfway point, you just hope to survive." Day for Night Francois Truffaut, 1973 Cinematography | Pierre-William Glenn

“Making a film is like a stagecoach ride in the old west. When you start, you are hoping for a pleasant trip. By the halfway point, you just hope to survive.”
Day for Night
Francois Truffaut, 1973
Cinematography | Pierre-William Glenn

While this film is most certainly dated, it is still very much alive. Truffaut is clearly playing a version of himself as he tries to make a movie while dealing with the many little dramas of his actors and crew threaten to throw the whole production down the drain. What I really love about Day for Night is its total lack of cynicism. Despite all of the troubles the director encounters, there is a love not only for each of the actors playing characters — this movie’s main intention is to serve as a shout out of love for movies and movie making. Day for Night refuses to commit to realism, surrealism or even satire. This quirky little 1970’s movie brims over with the sort of magic that only a film can provide.

FUNNY HA HA, British poster art, Kate Dollenmayer (top left), Myles Paige (top center), William Westfall (hat), Christian Rudder (center), 2002. ©Goodbye Cruel Releasing

FUNNY HA HA, British poster art, Kate Dollenmayer (top left), Myles Paige (top center), William Westfall (hat), Christian Rudder (center), 2002. ©Goodbye Cruel Releasing

I may not like the label / term of Mumblecore, but I have been an advocate of this group of Film Artists from the beginning. There are some very interesting aspects of this subgenre of Independent Film:

A simultaneous blending of cinematic auteur theory and active collaboration

The development of an artistic community and a loosely formed Acting / Filmmaking Troupe

Continuous exploration of identity

A unique shape of narrative structure

A consistent feeling of a unity between projects no matter how different they might be 

As with any labeled genre, there are certain artists who interest me more than others. Among them are Kelly Reichardt, The Duplass Brothers, Kentucker Audley, Josephine Decker, Rick Alverson, Lynn Shelton, Todd Rohal, Amy Seimetz and Michael Tully. It is essential to note that the term “Mumblecore” literally fails when held up to much of what these filmmakers do. Then again I’ve never gotten any sense that these artists worry about coloring outside the lines. Kelly Reichardt’s work is transformative. Rick Alverson’s films always contain a mix of societal criticism interlacing with absurdist or surrealist humor. His most recent film, Entertainment, is dark surreal vision of an artist pushed to the edge of sanity.

Look it, God will you fuck you up! The Catechism Cataclysm Todd Rohal, 2011 Cinematography | Benjamin Kasulke

Look it, God will you fuck you up!
The Catechism Cataclysm
Todd Rohal, 2011
Cinematography | Benjamin Kasulke

Michael Tully’s films are always surprising. Each of his films takes the audience to very different places. It is almost impossible to even provide a brief synopsis for his strange breath-taker, Septien. Todd Rohal’s work is always hinged uncomfortably with the Surreal or Absurdist — yet every film he makes manages to resonate. The Catechism Cataclysm, anyone? Amy Seimetz has actually only made one feature length film. However Sun Don’t Shine is so damned brilliant I keep waiting to see when she will make another. Jay and Mark Duplass and Lynn Shelton have already moved the genre into the mainstream without any sense of actually buying into full-on commercialization of what they do. HBO’s recent decision to cancel The Duplass’ Togetherness left a great many upset. Togetherness was the perfect artistic alternative to Lena Dunham’s Girls. The decision to cancel Togetherness will haunt HBO. Girls is a game-changer, but Togetherness was the intelligent result.

Kentucker Audley and Kate Lyn Sheil have good hearts, but they do very bad things. Sun Don't Shine Amy Seimetz, 2012 Cinematography | Jay Keitel

Kentucker Audley and Kate Lyn Sheil have good hearts, but they do very bad things.
Sun Don’t Shine
Amy Seimetz, 2012
Cinematography | Jay Keitel

Josephine Decker’s work is perhaps the most resoundingly unique of the Mumblecore Wave. Both Butter On The Latch and Thou Wast Mild and Lovely lead the audience into worlds that only seem familiar. Decker presents both stories with beauty and devastating horror. Each film is tied closely to the ways in which Ashley Connor finds to lens the director’s ideas. Decker’s work might have a connection to a Lynchian-like viewpoint, but there is something completely new found in both of these films. Each is blessed with a female voice that refuses to be restricted by societal norms or political correctness. That folk song might sound pretty and that barn may appear lovely, but Decker pushes us to the conclusion that both have been reconstructed to hide something far more sinister. Decker’s last two films deviate so far from what is considered Mumblecore that I almost hesitate to list her here. However her work is already deeply entrenched in the Mumblecore artistic troupe I do not see how I can leave her out. In truth, her most recent films seem to align closer to Shane Carruth’s work.

Everything learned by tending to the farm. And everything is offering surprises... Sophie Traub and Robert Longstreet Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

Everything learned by tending to the farm. And everything is offering surprises…
Sophie Traub and Robert Longstreet
Thou Wast Mild and Lovely
Josephine Decker, 2014
Cinematography | Ashley Connor

Of these mentioned, Kentucker Audley is the artist who remains triumphantly grounded in a unique vision that so far has remained stridently Mumblecore. Ambitious and determined, Audley always seems to find a way to continue his cinematic explorations. In the process he has established himself as a solid leading man. As an actor, he is really only challenged by Robert Longstreet. As competent in front of the camera as behind it, this is a filmmaker who will continue to thrive.

This makes De Niro's "Rupert Pupkin" look safe and sane... Kentucker Audley at the mic Bad Fever Dustin Guy Defa, 2011 Cinematography | Mike Gioulakis

This makes De Niro’s “Rupert Pupkin” look safe and sane…
Kentucker Audley at the mic
Bad Fever
Dustin Guy Defa, 2011
Cinematography | Mike Gioulakis

But there is another member of the Mumblecore Wave who is riding it with a conviction and an artistic slant that is ever-growing, expanding and convulsing ideas that seem to evolve with each of his cinematic projects. If we are to buy-into the concept of The Auteur, then we must be able to somehow chart a key thread in the work. Most importantly, the audience should be able to notice a growth from that core thread toward increasing achievement. Art is all too subjective and no artist is ever going to be able to make every step perfect. This is not what I mean when I write “increasing achievement.” The auteur filmmaker is by his/her own formation will not allow their work to fall prey to commercial interests or film criticism. The auteur will create the art no matter where it may lead him/her …or his / her audience. 

A film can be commercial without killing the intent. Olivia Wilde and Jake Johnson Drinking Buddies Joe Swanberg, 2013 Cinematography | Ben Richardson

A film can satisfy the mainstream without killing the intent.
Olivia Wilde and Jake Johnson
Drinking Buddies
Joe Swanberg, 2013
Cinematography | Ben Richardson

Joe Swanberg is most definitively an Autuer. And if you doubt a progression in his work you only need check out the films he released in 2011. Joe Swanberg directed 6 films released in 2011. All 6 are of interest and merit, but 3 form a trilogy that I strongly recommend. I’ve always referred to these 3 films as Swanberg’s Full Moon Trilogy. This trilogy not only captures the pursuit of the filmmaker, it shines a fascinating light on the art of filmmaking and psychological puzzle that Meta-Film can create. I am not certain if this is the correct way to refer to them, but for this essay I am going to use the Full Moon label.

Silver Bullets was not the first film Swanberg released in 2011. His first film of that year was Uncle Kent. An established storyboard director / writer for such animated hits as SpongeBob SquarePants as well as a longtime member of the Mumblecore Artistic Troupe, Kent Osborne takes the title role. As “Uncle Kent” he is essentially playing a variation of himself. As is often the case in Swanberg’s films, it is almost impossible to know how much of what we see is based on truth or complete fiction. There is an uneasy feeling that Uncle Kent is serving as a sort of fuzzy staged re-enactment from Osborne’s private life. The acting is that believable. It may not be the case, but this film gives the impression that we are seeing a slanted manipulation of Osborne’s own life.

Reality, identity and situations merge with fiction. Or is it the other way around? Uncle Kent Joe Swanberg, 2011 Cinematography | Joe Swanberg

Reality, identity and situations merge with fiction. Or is it the other way around?
Uncle Kent
Joe Swanberg, 2011
Cinematography | Joe Swanberg

It is an interesting and often voyeuristic proposition. It often feels like we are seeing something that we should not be allowed to see. Kent has a successful and seemingly profitable career as an animator, but he is getting older and is lonely. Part of that loneliness reveals itself to be a product of Kent‘s inability to fully grasp hold of maturity and the soon to arrive mid-life crisis. He does not seem to relate or even know anyone his own age. His co-worker is a good decade younger and while he has a nice home it is furnished like a college student dwelling. It would appear that Kent spends most of his free time surfing the Internet and playing the hyper-sexualized  Chatroulette. Watching these random online interactions is both fascinating and uncomfortable. When he meets Jennifer Prediger’s Kate on the site the two make the rather strange choice to not only meet up, but for her to visit and stay with him for a few days while she is in Los Angeles.

This extended adult sleepover sprouts increasingly uncomfortable moments of self-awareness. This is more than a man reluctantly facing the fact that he getting older. Our Uncle Kent is led to the realization that he no longer fits into the world he inhabits. The feeling that he might be missing out on something soon morphs into existential crisis. It is no longer enough to spend his days working on adult-oriented but infantile comedic cartoon, doodling, surfing the Internet, participating in Chatroulette, getting stoned, petting his cat and hoping against hope that a meaningless sexual encounter might lead to something resembling love. There is no resolution for Kent. We leave him stuck in a trap of his own making. There are no signs that he will be able to change the direction of his life, but there are no clear signs that he won’t. Uncle Kent is a sweetly sour experimental film of mid-life awareness.

Uncle Kent‘s idea of sexual freedom and single life is not something to desire. The film is potent and surprisingly entertaining. There are laughs to be found, but there is a dark sea of tears floating just beneath the surface. Most importantly Swanberg creates a film filled with characters that confuse typical cinematic ideas of reality. Where does Uncle Kent‘s fiction end and truth begin? Or has it all been a fiction?

Artists struggle to keep their private relationships separate from the cinematic work with some dire consequences in the first film of The Full Moon Trilogy... Silver Bullets Joe Swanberg, 2011

Artists struggle to keep their private relationships separate from the cinematic work with some dire consequences in the first film of The Full Moon Trilogy…
Silver Bullets
Joe Swanberg, 2011

The first of what I believe is correctly called The Full Moon Trilogy came out not too long after Uncle Kent. Silver Bullets is a slow-burn experience into a meditation on the artist, the artistic process and the attempt to maintain relationships throughout. At first glance Silver Bullets appears to be firmly grounded in realism. While the film presents itself as realism, it really does not try to confuse reality with fiction. Even viewers coming to the film with little to no knowledge of Swanberg or Mumblecore will know they are seeing a narrative fictional film. Swanberg has managed to secure both established actors, Jane Adams and Larry Fessenden in supporting roles. They are clearly not playing versions of themselves beyond the fact that both characters are respected actors facing dwindling options as they grow older in a profession obsessed with youth.

But the idea of naturalism / realism is immediately challenged when we first see Kate Lyn Sheil’s Claire. Framed in the left side of the screen she starts to produce animalistic howling and it is here that Swanberg inserts his title card. This is not a horror film, but it is established that is most likely a film is about the making of one. In fact, the horror filmmaker is played by Indie Horror King himself, Ti West. Claire has won the lead role as a female werewolf and West’s Ben is her director. Her life partner is a filmmaker played by Joe Swanberg. Swanberg’s character is named Ethan. He is also a filmmaker who appears to be very unhappy with a film he and Claire have been making. A film that is either so bad he will never release it or is still in a stage of incompletion. This is the third film that Silver Bullets may or may not be about.

Is the latex mask doing something more than cover the skin of its actor? Kate Lyn Sheil Silver Bullets Joe Swanberg, 2011

Is the latex mask doing something more than cover the skin of its actor?
Kate Lyn Sheil
Silver Bullets
Joe Swanberg, 2011

When an acting pal of Claire‘s arrives fairly unfreshly from Los Angeles, she presents her friendship with a bit of poison.

It is essential to note that the acting work in this film is very naturalistic and real. No wit or major drama. Communications are often muted and seem to oppose the actions the characters take. In a key scene, Claire‘s friend played Amy Seimetz offers a grim bit of advice. In her view, Claire has not yet had enough experience as a film actor. She advises her to go to Los Angeles and work her trade there. As Seimetz’s character abruptly walks away to change her top because she “feels fat,” she offers the observation that it is clear that Claire has not yet gained the required actor training because she still retains hope.

This advice and observation are delivered with sincerity. There is no intended irony or sarcasm. According to Charlie, the life of a working actor does not offer hope. It offers only disappointment and body issues. Yet there is an undertone to Amy Seimetz’s delivery of the lines. (if they are delivered at all — note: it is hard to know if we are seeing something fully scripted or improvised under a rough guideline) It might just be that the friend wants to push Claire away from the business to avoid competition. It is never clear.

Taking aim. Kate Lyn Sheil and Joe Swanberg Silver Bullets Joe Swanberg, 2011

Taking aim.
Kate Lyn Sheil and Joe Swanberg
Silver Bullets
Joe Swanberg, 2011

As Claire pursues her staring role in a horror film about a predatory female monster, her relationship with Ethan is placed in jeopardy. Her filmmaker boyfriend views her success with jealousy and his interest in her as his muse/leading lady seems to have vanished. Ethan is interested in pursuing Claire‘s friend from LA as his new leading lady. Meanwhile back on the horror movie set, it is clear that Claire is becoming dependent upon Ben‘s attention to help her be successful as his horror film leading lady. There is confusion both on and projecting from the screen about the identities of filmmakers. Is there a difference between serving as a leading lady and being a lover? Does one supersede the other?

Is this a role or a new development in identity and all that relate to it? Kate Lyn Sheil Silver Bullets Joe Swanberg, 2011

Is this a role or a new development in identity and all that relate to it?
Kate Lyn Sheil
Silver Bullets
Joe Swanberg, 2011

This is an experimental film about art and those who create it — and the impact it can have on their lives. It works. As Silver Bullets moves to it’s conclusion disorientation creeps over the entire film. Just when we feel fairly positive we are seeing a fictional narrative film rooted in realism and naturalism, Swanberg pulls the rug from beneath our feet. In a disturbing mix of realism, surrealism and possibly footage from another movie — the audience is left with the conundrum of sorting out the film we thought we were watching from the two others films we know the characters are making. But there is an added idea of psychological horror lurking and bubbling over in true horror film style.

Silver Bullets is a Meta-Film that presents a film within a film within a film and it never fully commits on which film(s) the characters are in during which scenes.

Are these the tears of a broken heart or those of an actor ready for her close-up? Kate Lyn Sheil Silver Bullets Joe Swanberg, 2011

Are these the tears of a broken heart or those of an actor ready for her close-up?
Kate Lyn Sheil
Silver Bullets
Joe Swanberg, 2011

It is not a frustrating result. The film satisfies and when a prologue arrives some questions are answered. But before Swanberg fades his screen to black he tosses a new idea out to the audience — Is Ethan a variation of Joe Swanberg?

The second film in The Full Moon Trilogy is Art History. This is about the making of a movie. That movie appears to be about an extended sexual encounter that becomes an intimate interaction beyond the sexual. Swanberg once again casts himself as a filmmaker directing a movie. While he is playing a character with a different name than his own, he plays it exactly like he played Ethan in the previous film. An unsatisfied and uninspired filmmaker who struggles with his private life as much as with his artistic calling. For Art History he has cast both Adam Wingard and his real-life wife and real-life filmmaker, Kris Swanberg. Wingard is clearly playing himself. He is given no name in the movie, but he is not only playing a cinematographer — he is also serving as Art History‘s co-cinematographer. Kris Swanberg’s role in the production is not articulated, though we know she is pregnant and we are given hints that she is involved with the film director. The two actors are played by Kent Osborne (who is given a different character name, but still seems just like Uncle Kent) and Josephine Decker.

What is going on here?!?! The concept of Meta-Film truly becomes impossible. Art History Joe Swanberg, 2011

What is going on here?!?! The concept of Meta-Film truly becomes impossible.
Art History
Joe Swanberg, 2011

The puzzle of this Meta-Film begins immediately when the first thing we see is a graphic scene of sexuality. A close-up of Kent Osborne’s penis and Josephine Decker attempting to cover it with a condom. The only clue that this may all be fiction is that Osborne’s penis is not erect. In addition, as Decker mount and grinds, the positioning and POV seem slightly off for the camera to be filming unstimulated sex. Soon enough Joe Swanberg’s character stops the filming for a quick “re-group” on the scene. None of this is presented in an erotic way. This is almost anti-erotic.

Perhaps more than any other Swanberg film, Art History looks truly ugly, unframed and clunky. The acting is first rate and firmly grounded in realism. Both Osborne and Decker seem to be doing their best to become comfortable with each other. But wait, was that re-grouping to help Osborne relax so that he can achieve an erection? Is the sex meant to be unstimulated? The conversing is painfully realistic as are the mutually awkward attempts at touching each other to both stimulate and relax. So, wait. Is this acting? We think it is. Or, hold up. Are these two actors actually involved. Decker seems to be playing the same character who showed up for a three-way with Uncle Kent and Kate in the other movie. Did they develop a relationship during that shoot and this is continuing as an idea for a movie? Where does the film within a film end/begin?

Although working with another actor, director and crew member -- Juliette is clearly feeling alone and more than a little lost. What is the point of bothering with the sheet? Josephine Decker Art History Joe Swanberg, 2011 Cinematography | Adam Wingard & Joe Swanberg

Although working with another actor, director and crew member — Juliette is clearly feeling alone and more than a little lost. What is the point of bothering with the sheet?
Josephine Decker
Art History
Joe Swanberg, 2011
Cinematography | Adam Wingard & Joe Swanberg

Swanberg’s character may be called Sam, but he sure seems like the Joe Swanberg I’ve seen chatting in interviews. As Osborne and Deckers’ characters seem to be warming to each other, Sam becomes jealous. Later it is clear he is developing sexual feelings for Decker’s character. And it looks like Decker is asking Kris Swanberg for relationship advice when it comes down to meeting someone in this sort of circumstance. The video stock looks different. Is this off someone’s cellphone? Was that Decker as Juliette asking Kris Swanberg’s character a question? Or was that Decker and Swanberg having a private huddle that has been edited into the film?

At what point are we in a movie within a movie or possibly a document of the whole process. Kent Osborne and Josephine Decker Art History Joe Swanberg, 2011 Cinematography | Adam Wingard and Joe Swanberg

At what point are we in a movie within a movie or possibly a document of the whole process.
Kent Osborne and Josephine Decker
Art History
Joe Swanberg, 2011
Cinematography | Adam Wingard and Joe Swanberg

One could almost accuse Swanberg of No Wave style or having absolutely no style to his filmmaking. In Art History, the absence of style actually begins to feel stylized. Interestingly, Art History contains several of the most stunning shots Swanberg has ever captured. A carefully lit in limited POV we see a swimming pool in which the two actors and director swim nude to relax. These shots serve as pause notations for the film itself. And these brief and artistically sensual shots are completely cinematic. The line between reality and fiction is blurred, but there is a lingering feeling that we are just watching a movie within a movie.

Wait a second. Who is actually swimming nude in that pool? Are these the two actors and one director or are they the three characters? Is this a movie within a movie and a documentary of both all edited together? Is there a difference?

A beautifully sensual shot. Art History Joe Swanberg, 2011 Cinematography | Adam Wingard and Joe Swanberg

A beautifully sensual shot.
Art History
Joe Swanberg, 2011
Cinematography | Adam Wingard and Joe Swanberg

The beautiful set-up of the swimming pool serves as the place for the film’s final scene. Art History‘s ending raises a whole new level of psychological game play for the viewer. Were the pool shots artistically set or just the blind luck of light and a perfectly placed surveillance camera? Either way, was the final scene real or scripted rage?  Did we just see documented rage? When were Kent Osborne and Josephine Decker acting? Were they ever filmed as themselves? Are they consistently acting throughout? Without knowing the artists involved it is impossible to fully know.

Unable to sleep... Joe Swanberg Art History Joe Swanberg, 2011 Cinematography | Adam Wingard and Joe Swanberg

Unable to sleep…
Joe Swanberg
Art History
Joe Swanberg, 2011
Cinematography | Adam Wingard and Joe Swanberg

This is the magic of Art History as a Meta-Film. This is also the cinematic moment when no one can deny Joe Swanberg’s talent as a filmmaker. The expression of intimacy is a tricky business for any actor, but within Art History, this challenge seems to be creating a view from almost every angle. There again, maybe it doesn’t. No matter the answer, Art History fully demonstrates an ever growing thread started in Silver Bullets as well as a growing maturity in filming.  However Swanberg’s strangest artistic turn is delivered in the final film of The Full Moon Trilogy.

Fictional and Real in their private bedroom, these two actors and fellow filmmakers ponder questions of art, identity and consequence... Sophia Takal and Lawrence Michael Levine The Zone Joe Swanberg, 2011 Cinematography | Adam Wingard and Joe Swanberg

Fictional and Real in their private bedroom, these two actors and fellow filmmakers ponder questions of art, identity and consequence…
Sophia Takal and Lawrence Michael Levine
The Zone
Joe Swanberg, 2011
Cinematography | Adam Wingard and Joe Swanberg

The Zone is the final third film of the trilogy. The first half of this movie plays like a low-rent take on Pasolini’s “Teorema.” Kentucker Audley is the mysterious visitor who is initially introduced as Kate Lyn Sheil’s  moody lover. At first it is not clear he is a mystery guest in the house. This understanding is gained when he seduces a more than willing Sophia Takal. Swanberg films the first sexual encounter in a somewhat non-erotic way. While there are many nude shots of the beautiful Kate Lyn Sheil, they do not seem overtly sensual. She and Audley play a strange game which leads to sex, but the whole exchange lacks lust or desire. Both actors appear to be a little bored.

However when it turns out that Sophia Tikal is more than willing to fool around with Kentucker Audley’s character, the tone of their sexual interaction is filmed in a different way. They, too, play a game. The difference is that both characters use the game as a form of flirtation. This sexual intimacy is filmed with a casual sort of lo-fi eroticism. Graphic and interplaying the use of a quilt which highlights gestures of  body movements. It is a simple idea, but effective.  This sexual encounter is erotic.

The Zone Joe Swanberg, 2011

The Zone
Joe Swanberg, 2011

When Takal’s real life fiancé arrives home from some sort of sporting event, Kentucker Audley’s character is seated seductively without a shirt. He sips a beer bottle and follows Lawrence Michael Levine into the bathroom where he films Levine’s character taking a shower. Before long it becomes obvious that Audley’s character is putting the moves on Sophia’s soon-to-be-husband. As both remove their pants and the nude Audley walks toward the nude Levine — their images become digitally “ghosted.” We can see through both men. As Audley bends to his knees to pleasure Levine, one can’t help but wonder if the previous realistic film is taking a turn for the surreal. Is this a sexual fantasy or daydream? If it is, to whom does it belong?

What's going on? Lawrence Michael Levine and Kentucker Audley get ghosted... The Zone Joe Swanberg, 2011

What’s going on?
Lawrence Michael Levine and Kentucker Audley get ghosted…
The Zone
Joe Swanberg, 2011

At this point Swanberg gives the audience a surprising turn. Suddenly this film becomes an unfinished production with Swanberg, Adam Wingard, Dustin Guy Defa, Kate Lyn Sheil, Sophia Tikal and Lawrence Michael Levine all watching the film we’ve just seen on Swanberg’s laptop. It would appear that the actors are no longer acting. The director is no longer directing. And the co-cinematographer is no longer filming. All five artists begin to critique the film, their work and question the validity of moving forward with the production.

We are to understand that Kentucker Audley has already left and not coming back. His part in the film was finished. One of the actors questions Swanberg’s choice of filming each seduction. All find it problematic that the Kat Lyn and Sophia sex scenes are filmed for long durations without clothing while Lawrence is barely given any nude or sex time. There are also concerns voiced about Swanberg’s choice to not show much of the homosexual encounter and that he has treated it as if it might not have even happened.

Can a happy marriage of two actors handle the sexual confusion of roles? Sophia Takal and Lawrence Michael Levine The Zone Joe Swanberg, 2011

Can a happy marriage of two actors handle the sexual confusion of roles?
Sophia Takal and Lawrence Michael Levine
The Zone
Joe Swanberg, 2011

We come to realize two factors of The Zone that are presented in a rather casual ways: Swanberg is filming in the actual home that Sophia and Lawrence share with Kate Lyn. Thus another layer of fiction has been merged with reality. Acting is difficult, but it is even more challenging when the cameras are right up near the face. These are all very talented actors. Finding ways to make sexual intimacy and simulated sex look and appear real is not at all easy. It takes a large emotional toil and can often be more than a little confusing for the actors — even more so if they rely on Method Acting. To simulate sex in their own private house, bathroom, bedrooms and living room would not be any easy feat. Yet all four actors do it very well.

The second factor is revealed in such a flippant and casual manner that I’m not sure I noticed it when I first saw this movie several years back — All four artists discuss Kentucker Audley’s participation in Swanberg’s film as if he had been playing himself. They begin to compare and discuss Audley’s manner and his way of moving into a love scene. Later Michael Lawrence Levin bravely secures an on-screen erection in an attempt to recreate what Swanberg had failed to film with he and Kentucker. At this point the director and the two soon-to-be-married actors try to think of what Kentucker would have done and/or wanted. It is already been made clear that neither Audley or Levine have any interest in homosexual sex, yet that idea that these actors may not really be acting in any traditional sense.

When the four discuss filming a three-way simulated sex scene, the actors speak as if they are really going to be engaging in three-way sex. They do not appear to be talking about acting. They appear to be talking about sharing the sexual experience. Is this a tease of the of the film or do they plan to have full-on sex? Meanwhile, Swanberg shares his fears and concerns about forcing the actors to film something. They assure him that they are participating of their own free will and want to make the best film possible. Swanberg discusses how “certain past filmed scenes” in other films have caused some major hurt and anger. The mind immediately springs back to the closing moments of Art History. As the film within a film continues to challenge its own concept a surprising thing happens while Swanberg films a new scene. The occurrence is unexpected and looks very real. It sounds very real. The panic, rage, hurt and fear do not seem like acting.

Strike a pose... Lawrence Michael Levine and Kentucker Audley The Zone Joe Swanberg

Strike a pose…
Lawrence Michael Levine and Kentucker Audley
The Zone
Joe Swanberg

When can know we are seeing these five artists acting and when can we know that what we are seeing is an actual documentation of The Zone‘s behind the scenes filming?

We can’t.

But then, Swanberg  does something I’ve never seen a filmmaker do — Already having totally disoriented the cast as well as the audience in the ability to understand fictional truth vs. reality truth. Already having inverted the idea of identity beyond recognition — and without warning, The Zone totally implodes upon itself.

We find ourselves in Joe and Kris Swanbergs’ living room. There they are sitting with their newly born baby. Kris is offering Joe criticism of The Zone. She begins to push him to explain what it is he was after. She comments that she has no idea if what she has seen was real. She questions the unexpected moment within the movie as not being valid. Now his wife is questioning the validity of reality vs. fiction. Neither the filmmaker or his filmmaker wife like the movie he had made.

Is this really a film within the film or has it been planned. Does reality fit into this realism? Kate Lyn Sheil, Dustin Guy Defa, Adam Wingard, Sophia Takal, Lawrence Michael Levine and Joe Swanberg The Zone Joe Swanberg, 2011

Is this really a film within the film or has it been planned. Does reality fit into this realism?
Kate Lyn Sheil, Dustin Guy Defa, Adam Wingard, Sophia Takal, Lawrence Michael Levine and Joe Swanberg
The Zone
Joe Swanberg, 2011

We reach a true Meta-Film Trip Out when Kris Swanberg notes that Joe has made movie within a movie in which he is questioning his motivations regarding a film within another film that unfolds to another film in which he is still complaining about all of the films — none of which has been fully produced. This is a psychological trap. It could even be called a mind fuck. Swanberg laments he may have reached a dead-end. It is a profoundly disorienting scene. Especially when you take into account that this final Meta-Film Twist may have been scripted.

While watching the final moments of The Zone I can’t help but wonder if we were really seeing the Swanberg living room. Is it a set? What’s up with the odd blue light emitting from the gap in the curtains? How is a couple with a baby able to live in such a minimal room? 

In the end Joe Swanberg’s Full Moon Trilogy is a brilliant success. One does not need to see all three in sequential order. All three films function independent of one another. But when you see Silver Bullets, Art History and The Zone together you not only see the thread and Swanberg’s progressing evolvement as an Autuer Filmmaker — the viewer experiences is a rewarding and interesting flow of cinematic ideas. These three films offer a thoroughly unique take on human psychology and the impact of fluidly mixing realism with fiction so deeply leads you into a sort of labyrinth.

Is that a real gun? Joe Swanberg Silver Bullets Joe Swanberg, 2011 Cinematography |

Is that a real gun?
Joe Swanberg
Silver Bullets
Joe Swanberg, 2011
Cinematography |

If you’ve not seen Joe Swanberg’s Full Moon Trilogy and would like to check it out:

The DVD Box Set is available from Factory 25

Swanberg Full Moon Trilogy

Or you can rent or purchase all three from Vimeo

Swanberg at Vimeo

If you are a member of Fandor, all three films are currently streaming as of April, 2016

@ Fandor

Matty Stanfield, 4.7.16

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

At this moment, it was still very much style over substance. But this would soon change. Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

At this moment, it was still very much style over substance. But this would soon change.
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

Having the opportunity to interview or chat with a filmmaker is always interesting, but once in a while it can be somewhat magical. From time to time a highly respected and successful film artist manages to escape the limitations of celebrity. Not all celebrated filmmakers live in bubbles.

And while it often feels a thing of the past, there are still filmmakers who are more concerned with filmmaking as an art form than as the opportunity for the wealth of a franchise. No artist desires creating work that fails to connect with an audience, but there are some who are far more concerned with a personal vision than worrying about selling tickets. While this can create limitations for the filmmaker, it also presents a great level of freedom.

Nicolas Roeg BBC Arena Portrait Photograph | David Thompson, 2015

Nicolas Roeg
BBC Arena Portrait
Photograph | David Thompson, 2015

One such filmmaker is Nicolas Cage. If you’ve ever watched or read an interview with eccentric auteur you will be aware that his style of conversing is at once intellectual and rather free-form. His style of discussing his work, history and ideas often ramble, but they never miss their mark.

If you’ve ever had the pleasure of listening to Nicolas Roeg speak, you will note a highly intelligent and genuine man. It is impossible to miss the fact that he is so filled with ideas that he tends talk in meandering and circular logic sentences. Last year, after overcoming more than a few challenges, The Criterion Collection re-mastered and re-issued Don’t Look Now. It features a discussion filmed in 2003 at London’s Ciné Lumière. It is an entertaining discussion and fully captures the way in which Roeg communicates. More importantly, it lets us see how he thinks and more than a little insight into how he makes films. He has always stretched cinematography and film editing to the limits to mimic the ways the human mind works. It may not always appear logical if we can slow down long enough to notice the jumbled order of our thoughts, but we are able to connect the dots of our odd assortment of ideas to lead us to the ways in which we operate.

If there is one element that shines through when listening to Mr. Roeg is the constant desire to find ways for film to connect with the human brain. When he made his debut as a film director it was a collaboration with writer/director, Donald Cammell.

There is a great deal more going on behind James Fox's "Johnny's" violent actions than simple thuggery. James Fox Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

There is a great deal more going on behind James Fox’s “Johnny’s” violent actions than simple thuggery.
James Fox
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

That debut film was Performance. Essentially a thriller in which a thug makes the mistake of hiding out in the home of rock star and his two groupies. The “thrill” aspect of the film takes a long fall as the film quickly evolves into a surrealistic study of a drug-fueled, hallucinogenic trip into identity. The film remains firmly seated as a dated but groundbreaking film of its time featuring Mick Jagger playing the odd rock star who pulls James Fox into a great deal more than his own isolated world.

“Nothing is true, everything is permitted.”

There only appears to be no rules... Mick Jagger Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

There only appears to be no rules…
Mick Jagger
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

It is an iconic film. It is also offers a key insight into what would soon become Nic Roeg’s life long pursuit toward a whole new kind of cinematic language. The idea of filming and editing a film to reflect the inner-workings of the human mind is forming. As Performance was a collaborative effort and firmly rooted in the culture of late 1960’s Swinging London world of fashion, rock and drugs — the uses of this idea never fully form. Instead the film often employs stylistic choices of jittery fast cuts and odd perspectives that are as ornamental as they are meaningful. Even still Roeg’s approach human thought as a method of plot projection is there.

Even the smallest creatures fight to survive. A picnic in the outback turns into a journey of cruel awakening, self-discovery and survival. A Cinematographer becomes an Auteur. Walkabout Nicolas Roeg, 1971

Even the smallest creatures fight to survive. A picnic in the outback turns into a journey of cruel awakening, self-discovery and survival. A Cinematographer becomes an Auteur.
Walkabout
Nicolas Roeg, 1971

Nicolas Roeg’s true directorial debut is filled with ideas and unique perceptions. A brother and sister escape the insanity of their troubled father to find themselves in the wilds of The Australian Outback. The title of the film comes from the Aboriginal concept of a male’s journey to adulthood. And with the assistance of a young man in the middle of his tribal ritual “walkabout” — the siblings journey through adversity and mystery toward their own adulthood.

What constantly threatens danger springs forward into a celebration of life's possibilities... Jenny Agutter Walkabout Nicolas Roeg, 1971

What constantly threatens danger springs forward into a celebration of life’s possibilities…
Jenny Agutter
Walkabout
Nicolas Roeg, 1971

Along the way cultural differences cause confusion and alarm. It is a film about survival thanks to human kindness. But more than anything it is a startling view of how racism and cultural differences are so engrained, no amount of human kindness can make them go away.  Roeg’s camera captures reality through a sort of surrealistic lens. The careful use of Antony Gibbs and Alan Pattillos’ editing allow us to view the realities and revelations from the perspective of two young adults and a child. It is here that we get a glimpse of identity perspective through the way the characters’ minds take in and view individual perceptions of experience.

A beautiful and tragic experimental film about both the strengths and flaws of the human condition. Another idea is put forward that hints that as our society applies more and more pressures, the concept of a walkabout could become a new sort of ritual for human beings contained within a society that only appears to offer safety and protection.

A young man takes a look at the land of his future and a shot becomes an iconic image. David Gulpilil Walkabout Nicolas Roeg, 1971

A young man takes a look at the land of his future and a shot becomes an iconic image.
David Gulpilil
Walkabout
Nicolas Roeg, 1971

When one watches Roeg’s 1980’s Bad Timing, a story of lust turned to obsession that not only pushes both individuals to the limits — it pulls one of them into the darkest corners of insanity. Bad Timing is graphic in the use of nudity, but the story it tells is not all that unusual. What makes this film standout as a work of cinematic art is the blending and discordant use of plot points into a fluid labyrinthine of perspectives that is often almost impossible to follow. The concept of flashback story-telling takes an almost hysterical detour into uncharted territories.

What often feels like a murder mystery is really far more complex in what it attempts to do. Bad Timing dares to toss a number of film genres our way, but the goal here is not suspense or even mystery. This film charts the deterioration of both the human mind and psyche after the requirements of desire, lust and sexual obsession have overtaken the rational.

"I'll be dead in a minute; just wanted to say good-bye." Who is in control? Who is being seduced? And in what order are these experiences happening?  Art Garfunkel / Theresa Russell Bad Timing Nicolas Roeg, 1980 Cinematography | Anthony B. Richmond

“I’ll be dead in a minute; just wanted to say good-bye.”
Who is in control? Who is being seduced? And in what order are these experiences happening?
Art Garfunkel / Theresa Russell
Bad Timing
Nicolas Roeg, 1980
Cinematography | Anthony B. Richmond

Tony Lawson’s editing of Anthony B. Richmond’s oddly framed cinematography shifts the viewer perspective into a strange flow that is challenging to grasp. The majority of film critics and audiences at the time tended to dismiss the film. Art Garfunkel’s low-key performance mixing with Harvey Keitel’s intensity and Theresa Russell’s unhinged demonstration of carnal obsession often feels like a cinematic experiment with celluloid as rubber band. Bad Timing was so strange at the time it was released that it would take a good decade before it would be reconsidered and re-evaluated for the exceptional film it is. This film remains strange and refuses to give in.

tumblr_ngklgdbxKL1tus777o3_r1_1280

“You tell the truth about a lie so beautifully.” Art Garfunkel / Theresa Russell Bad Timing Nicolas Roeg, 1980 Cinematography | Anthony B. Richmond

Don’t Look Now takes us to a Venice steeped in decay, sadness and uncertain dangers. We are led through a series of seemingly endless loop of dark tunnels. We pass over aged bridges in a fog of mystery. Hope can become deadly. Grief can become a release. Like life, nothing is at it appears. Constantly shifting back and forth in time which only becomes obvious upon a second screening. Everything is viewed with disconnected logic and paranormal hindsight. There is a constant confusion of “real-time” with conscious and subconscious perceptions. An unrelenting sense of déjà vu that our protagonist refuses to own or fully evaluate.

Nothing is what it appears... Julie Christie Don't Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

Nothing is what it appears…
Julie Christie
Don’t Look Now
Nicolas Roeg, 1973
Cinematography | Anthony B. Richmond

A cinematic masterwork that captures a young couple trying to re-connect and support each other in order to survive the worst experience life can offer.  It is a truly horrific film that somehow manages to be both beautiful and hauntingly sad. This is a surreal horror film about love, guilt, connections and grief.

"This one who's blind. She's the one that can see." Don't Look Now Nicolas Roeg, 1973

“This one who’s blind. She’s the one that can see.”
Don’t Look Now
Nicolas Roeg, 1973

This controversial 1973 film remains Roeg’s most successful film. Don’t Look Now is perhaps the best example of how Nicolas Roeg’s films work.

These films are about a whole lot more than seeingthese films are about how we think.

Matty Stanfield, 2.8.2016

 

There was once a time when Madonna presented ideas far deeper than that of “Pop Star.” While those days seem to have past, many of the ideas she presented and asserted remain.

Lucky for us a female film artist adapted Phoebe Gloeckner's insightful novel for the screen. Kristen Wiig / Bel Powley / Alexander Skarsgård The Diary of a Teenage Girl Marielle Heller, 2015 Photograph | Sam Emerson

Lucky for us a female film artist adapted Phoebe Gloeckner’s insightful novel for the screen.
Kristen Wiig / Bel Powley / Alexander Skarsgård
The Diary of a Teenage Girl
Marielle Heller, 2015
Photograph | Sam Emerson

One of the last times I recall finding myself thinking about something she co-created was her 2000 single:

“Skin that shows in patches.
Strong inside but you don’t know it.

Good little girls they never show it.
When you open up your mouth to speak, could you be a little weak?

Do you know what it feels like for a girl?
Do you know what it feels like in this world…” — Madonna

Aside from being catchy, this pop song did elevate itself more than a little by what it had to say about the ever-mounting challenges and societal/cultural indifference and injustices perpetuated against and projected upon the idea of female identity. Sadly, the iconic superstar chose to have her then filmmaker husband create the song’s vid-clip. The video for this song was crass and violent for reasons of shock-value vs. offering any level of content truly relevant toward a song that seemed tied to a young woman attempting to indicate the cruel patriarchal views to a young male. A missed opportunity to say the least.

Marguerite Duras' novel about a young woman's sexual awakening received a very male-eroticized translation from Jean-Jacques Annard. Jane March / Tony Leung The Lover Jean-Jacques Annard, 1992 Cinematography | Robert Fraisse

Marguerite Duras’ novel about a young woman’s sexual awakening received a very male-eroticized translation from Jean-Jacques Annard.
Jane March / Tony Ka Fai Leung
The Lover
Jean-Jacques Annard, 1992
Cinematography | Robert Fraisse

It has taken a tragic and centuries long tyranny for women to finally make significant strides in the areas of filmmaking. Such recently formed groups like The Alliance for Women in Media have smartly utilized social media to promote, promote and organize female film artists. While the idea of the female filmmaker is not at all new, the voices of these film artists that have managed to gain attention are painfully few. Those voices that have managed to obtain success have largely been built on celebrity [think Nora Ephron, Julie Delpy, Barbra Streisand, Penny Marshall, Elaine May, Susan Sideman, Anne Fontaine, Diane Keaton or Kathryn Bigelow] or controversial films that were either too scandalous or provocative [think Claire Denis, Lina Wertmüller, Patty Jenkins, Liliana Cavani, Lynne Ramsay, Mary Harron, Mia Hansen-Løve, Doris Dörrie or Catherine Breillat] to be ignored.

Note: this statement and the listed artists is not intended toward the quality of work or respective importance. However significant gains have been made in just the last ten years.

One of the most important historic moments in US history is captured by a female director. Carmen Ejogo as Coretta Scott King SELMA Ava DuVernay, 2014 Cinematography | Bradford Young

One of the most important historic moments in US history is captured by a female director.
Carmen Ejogo as Coretta Scott King
SELMA
Ava DuVernay, 2014
Cinematography | Bradford Young

As Film Art moves forward we will be given more opportunities to see female characters written and presented by women. It is interesting to experience the “knee-jerk” reaction of fellow cinephiles when I bring this up. It seems that the majority of people seem to feel it is not all that important or different to have a female vs. male filmmaker. From a technical proficiency standpoint it really does not make a difference. However, good luck at convincing most Big Money producers or film studios that there isn’t. The shift in this perspective is resulting from peer and societal pressures. Sexism and Racism still run the show, but this might be changing. What interests me is seeing how a female filmmaker might be able to bring a more balanced depiction of female characters and their situations.

A great deal more than "a sex comedy" that the film's marketing team led us to believe. Juno Temple & Kathryn Hahn deliver potent performances in a vastly under-rated film. Afternoon Delight Jill Soloway, 2013 Cinematography | Jim Frohna

A great deal more than “a sex comedy” that the film’s marketing team led us to believe.
Juno Temple & Kathryn Hahn deliver potent performances in a vastly under-rated film.
Afternoon Delight
Jill Soloway, 2013
Cinematography | Jim Frohna

Would Ava DuVernay’s Selma have been different if it had been made by a man? A white woman? I suspect so, but Selma was crafted with such a steadfast and sure handed — it is hard to say. Would Jill Soloway’s under-appreciated Afternoon Delight have been different if it had been written/directed by a male filmmaker? I’d say most certainly so. Would Diary of a Teenage Girl have presented themes of sexuality and identity have been handled in a different manner by a male? Would Mia’s frustrations, anger and sexual awakening been explored differently if a man had directed Andrea Arnold’s screenplay for Fish Tank? I’d say most definitely. Or what if we stop and imagine what might have happened if Lynne Ramsay’s husband, Rory Stewart Kenner, had directed their screenplay adaptation of Lionel Shriver’s We Need to Talk About Kevin? Would Michelle Williams’ Margot had received a more typical level of exploration had Sarah Polley not written and directed Take This Waltz? Would a male director had handled Father of My Children in the same way that Mia Hansen-Løve so grimly caring as she was able?

Even brightly painted walls are unable to hide the challenges of a young woman coming of age within a council estate. Katie Jarvis Fish Tank Andrea Arnold, 2009 Cinematography | Robbie Ryan

Even brightly painted walls are unable to hide the challenges of a young woman coming of age within a council estate.
Katie Jarvis
Fish Tank
Andrea Arnold, 2009
Cinematography | Robbie Ryan

If we think back to some of the more controversial European films of the past 50 years it brings up an even stronger concern. Imagine if Pier Paolo Pasolini had directed Liliana Cavani’s The Night Porter? …A film that still makes both female and male audiences squirm some 40+ years after it was originally released. Try to imagine if Jacques Audiard had directed Claire Denis’ White Material. Actually this might be the true exception to the rule. I do not think there are any filmmakers who think and film anywhere near to the manner in which Denis approaches her distinctive and intimate films.

An odd sort of buddy film morphs into something very different in the hands of this respected female film artist. And guess what? She secured one of the most interesting American cinematographers working -- who happens to be a woman. Joslyn Jensen / Kentucker Audley FUNNY BUNNY Alison Bagnall, 2015 Cinematography | Ashley Connor

An odd sort of buddy film morphs into something very different in the hands of this respected female film artist. And guess what? She secured one of the most interesting American cinematographers working — who happens to be a woman.
Joslyn Jensen / Kentucker Audley
FUNNY BUNNY
Alison Bagnall, 2015
Cinematography | Ashley Connor

Even so, just think what might have happened. A similar exception might rule for both Catherine Breillat and Josephine Decker — both of whom seem to have a very unique and intimate connection to their work. Decker’s voice is still taking form and I think we are approaching an era where it will be allowed to do just that. The same did not happen for the likes of Claudia Weill and Elaine May. Two incredibly gifted artists who had the unluck of making a flop each. Male filmmakers can make a flop movie and move on, the same has not been true for women.

Sidney Pollack, Mike Nichols, Woody Allen and Gary Marshall would have simply shrugged and moved on to a new project. However all it took was one box office flop to bring Elaine May's directorial career to an abrupt end. Dustin Hoffman / Warren Beatty ISHTAR Elaine May, 1987 Cinematography | Vittorio Storaro

Sidney Pollack, Mike Nichols, Woody Allen and Gary Marshall would have simply shrugged and moved on to a new project. However all it took was one box office flop to bring Elaine May’s directorial career to an abrupt end.
Dustin Hoffman / Warren Beatty
ISHTAR
Elaine May, 1987
Cinematography |Vittorio Storaro

An even more vexing concern for female artists comes up when we do think of all the inaccuracies of treatment for male filmmakers vs. female directors. Men can misbehave. Does anyone out there think that a female artist would have been allowed to put a cast / crew through emotional tantrums thrown by David O. Russell during the making of I Heart Huckabees? You are living in a make believe reality if you do. You would also be in an equally confused reality if you think a male PEO could have gotten away with this behavior on a Hollywood set. Ironically, the artist who paid the price for Mr. Russell’s bizarre behavior ended up being an innocent bystander. Unlike her co-stars, Isabelle Huppert and Dustin Hoffman, Lily Tomlin refused to sit quietly while Russell blasted them with unprofessional rage-fueled insults.

I guess she should have known she had no right to defend herself and the crew against and unprofessional male director.  Dustin Hoffman / Lily Tomlin I Heart Huckabees David O. Russell, 2004 Cinematography | Peter Deming

I guess she should have known she had no right to defend herself and the crew against and unprofessional male director.
Dustin Hoffman / Lily Tomlin
I Heart Huckabees
David O. Russell, 2004
Cinematography | Peter Deming

It was as if the highly respected and skilled actress had made a grave error against Hollywood’s Good ‘Ol Boy Club when she dared to respond to her director’s cruelty. Ms. Tomlin’s film career suffered a great deal due because she was unwilling to sit passively and suffer the indignity of O’Russell’s tyranny. This sad result of a YouTube leak has been little discussed. David O. Russell had already come to blows with George Clooney a few years earlier. Clooney seemed to earn “respect points” for standing up to the bullying. Tomlin did not fare as well. She was largely relegated to playing nightclub gigs. It would take more than a couple of years before she found worthy television / film prospects. Yet David O. Russell continued to excel up The Hollywood Food Chain despite not only his behavior but the box office fail of I Heart Huckabees.

An experimental, disturbing and fascinating independent film challenged all the rules of a male-dominated art form.  Robert Longstreet / Sophie Traub Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

An experimental, disturbing and fascinating independent film challenged all the rules of a male-dominated art form.
Robert Longstreet / Sophie Traub
Thou Wast Mild and Lovely
Josephine Decker, 2014
Cinematography | Ashley Connor

However, I’ve gone way off point here. There are a slew of amazing films dealing with the psychology of women. Films that are rightly revered and studied. In no way would I want to discount these films, but it is interesting to think about them from the perspective that they were imagined, written and directed by men. Are these depictions any less valid because women were relegated to the role of “actor” vs. creator of these unforgettable cinematic masterpieces? It is an interesting talking point.

A woman plagued by a toxic world or muted oppression? A male director proves he can make films focused on women without error.  Julianne Moore SAFE Todd Haynes, 1995 Cinematography | Alex Nepomniaschy

A woman plagued by a toxic world or muted oppression? A male director proves he can make films focused on women without error.
Julianne Moore
SAFE
Todd Haynes, 1995
Cinematography | Alex Nepomniaschy

I was recently thinking of four films in particular. I don’t pretend to know the full answer to this hind-sighted reflection. For starters I am not a filmmaker, but most importantly I am a white male. These films were made by professional filmmakers — all of whom were white men.

Millie aims for perfection within a man's nightmare... Shelley Duvall  3 Women Robert Altman, 1977 Cinematography | Charles Rosher Jr.

Millie aims for perfection within a man’s nightmare…
Shelley Duvall
3 Women
Robert Altman, 1977
Cinematography | Charles Rosher Jr.

The first film that crosses my mind regarding this line of questioning is one of my personal favorite movies: Robert Altman’s 3 Women. I’m not sure this is a good film to discuss in this vein as the entire film can be ascribed to dream-logic. Altman never made it a secret that the entire film was born of a personal nightmare. It is also no secret that this incredible examination of identity and surrealism was largely formed by the participation of all three actors in the title roles. This is most particularly true of Shelley Duvall.

The battle for identity... Sissy Spacek / Shelley Duvall 3 Women Robert Altman, 1977 Cinematography | Charles Rosher Jr.

The battle for identity…
Sissy Spacek / Shelley Duvall
3 Women
Robert Altman, 1977
Cinematography | Charles Rosher Jr.

Almost all of the film’s trajectories emanate from Duvall’s Millie‘s actions. Another aspect of this film that more or less eliminates it from this topic is the fact that the entire film does feel like a manifestation of male-based fears about women. This is not to say that 3 Women is not a fully potent vision of identity horror, but it does not actually seem to present itself entirely based female psychology. This wildly experimental dark comedy morphs into one of the more disturbing films you are likely to see. It is full of female energy, but it never feels as if it is trying to make a statement about anything other than these three very specific three female characters.

The second film I think of this respect is a more likely candidate for this type of analysis: John Cassavetes’ A Woman Under the Influence. Experiencing a John Cassavetes film often leads the viewer to the mistaken idea that every aspect of what is being seen is an improvised experimental film. This is never the case.

A Woman Under the Influence  John Cassavetes, 1974

A Woman Under the Influence
John Cassavetes, 1974

Cassavetes was an articulate film writer as well as director. He had a very specific story to tell and he told it in his unique visionary way. Certainly not one to run from collaboration and open to ideas — he was nearly always set on how and what he wanted his films to say. He was blessed to share his life with one of the most important film actors to ever breathe, Gena Rowlands. However it is a major mistake to think that as Mabel, Rowlands was free-forming her dialog as she went along. It is both to her credit as an actor and her husband’s credit as a filmmaker that it feels that way. Even Rowlands’s Mabel odd and/or quirky hand gestures and ticks were already thought out in the filmmaker’s head. Do a Google and you will find images of Cassavetes acting out the hand movements and gestures for Rowlands to incorporate into her performance. It is also somewhat crucial to remember that Cassavetes main interest in his film storytelling was the pursuit of love. Yet it would seem difficult for even this great filmmaker to not note that there was something removed from that going on here.

Seeking intimacy and human warmth, but only finding guilt and confusion.  A One Night Stand and Gena Rowlands A Woman Under the Influence  John Cassavetes, 1974 Cinematography | Al Ruban

Seeking intimacy and human warmth, but only finding guilt and confusion.
A One Night Stand and Gena Rowlands
A Woman Under the Influence
John Cassavetes, 1974
Cinematography | Al Ruban

A Woman Under the Influence works on all levels and remains a fascinating and deeply disturbing screen capture of a woman in full-tilt emotional breakdown. How or if she is full able to “heal” and return to life is more than a little ambiguous. What is clear in the film is that she is loved and loves, but this might not be enough for her to survive the life in which she has found herself. And this is one of the primary reasons this 1974 film continues to feel alive and real. The hair styles, the decor, the cars and clothing may all be dated — but the situations all feel profoundly current.

Mabel is not well. She is losing her grip on sanity. Something that the film never bluntly states but shows is that she is also deteriorating in imposed isolation, loneliness and suffocating within what begins to feel like a sort of familial pathology. The Longhetti Family is not well. The working-class husband / father is over-worked and seems more than a little under-educated. With the exception of a paycheck, he seems to leave all other responsibilities to his wife, Mabel. She is left alone with three children in a sort of lower-middle class hell.

"All of a sudden, I miss everyone..." Gena Rowlands A Woman Under the Influence  John Cassavetes, 1974 Cinematography | Al Ruban

“All of a sudden, I miss everyone…”
Gena Rowlands
A Woman Under the Influence
John Cassavetes, 1974
Cinematography | Al Ruban

She loves and adores her children, but they are all she has in the way of connection to the world. She may or may not be a bit smarter than her husband, but it does not really matter. We can see that she is overwhelmed. We can also see that her husband hasn’t a clue as to why or how to help her. He takes to what can only be described as domestic abuse toward his wife. He ultimately pulls his children into emotionally-damaging situations and allows indulgences into inappropriate behavior as a father. Mabel may not be a reliable parent, but she seems to be trying harder to set a better example than her husband. The 21st Century reaction to Peter Falk’s Nick is to take offense and become angry. However his performance and the film itself is so stunningly human, it is almost impossible to dislike Nick. We know he cares and is simply lost. The resulting film is powerful, sad and oddly inspiring in that it offers us a bit of hope for this woman.

When film acting no longer feels like "fiction." Gena Rowlands A Woman Under the Influence John Cassavetes, 1974 Cinematography | Al Ruban

When film acting no longer feels like “fiction.”
Gena Rowlands
A Woman Under the Influence
John Cassavetes, 1974
Cinematography | Al Ruban

There was and will only ever be one John Cassavetes. A Woman Under the Influence is cinematic masterwork from every angle.

But have you ever wondered what this movie might have been like if a woman had directed it?

Would we be given a bit more information regarding those gestures or movements to understand the pressures of both the inner and outer worlds of Mabel? Would Nick have had more room to understand or even less? Would he have become a savior or more of a victimizer? When it comes to A Woman Under the Influence, one thing that was discussed when it was first released has come much more clearly to the forefront with the passage of time: there is an idea presented which is far less ambiguous today as was back in the 1970s. As viewers we do not really know if it is Mabel who is having the real problem here. Mabel appears to be more a victim of circumstance than one of mental illness. Is The Woman ill or is she simply a experiencing the logical result of a life so severely limited and oppressed? Perhaps it is Nick who really needs help. Mabel just might need to demand more freedom or walk away. Would the entire situation of this family be illuminated in a different way had it been in the hands of female filmmaker? Honestly, I’m not sure I really want to know…

The female psyche deconstructed... PERSONA Ingmar Bergman, 1966

The female psyche deconstructed…
PERSONA
Ingmar Bergman, 1966

The third and final film is also one of the greatest films ever made. Ingmar Bergman’s Persona is a milestone work of art for more reasons than I’d be comfortable attempting to articulate. This largely experimental film is less about the core of Human Identity as it is about the twisted manipulation of identity by one of the two female characters. Bibi Andersson plays Alma. A young and inexperienced Psych Nurse assigned the task of caring for a highly respected stage and film actress played with equal mastery by Liv Ullmann. This is a Surrealist take on human cruelty and ideas of identity. It is also female-centric. Yet as much as it is concerned with female psychology, it is equally concerned with experimenting against the normal conventions of cinematic storytelling. Ingmar Bergman and his legendary cinematographer, Sven Nyqvist are both concerned with conveying ideas through image and editing even more than what the two actors present through performance and dialogue.

Too fragile to handle the world, so maybe she wants to try and manipulate it?  Liv Ullmann PERSONA Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Too fragile to handle the world, so maybe she wants to try and manipulate it?
Liv Ullmann
PERSONA
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

We see both women react to their respective worlds and situations. Soon enough we see them react to each other. In uncomfortable silence as her patient has withdrawn from speech and human contact, Alma begins to find herself in the unique position in having a person of note who serves as her private audience. She begins to share her deepest and most intimate secrets to her Elisbet. One doesn’t need a degree in psychology to realize that Liv Ullmann’s character is somehow using her nurse for her own perverse needs and pleasures. We might think that it is the patient who is falling apart, but viewers quickly realize that the character who truly comes to the end of her mental and emotional rope is the nurse.

Silent prey or captive audience?  Liv Ullmann / Bibi Andersson  PERSONA Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Silent prey or captive audience?
Liv Ullmann / Bibi Andersson
PERSONA
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

One of the splinters the film that makes is truly jolting, but it is never fully clear as to why. Was this always going to happen or has Ullmann’s Elisabet pushing buttons and limits for her own sick gain? I suspect most of us would agree that this revolutionary bit of filmmaking is at least a partial off-spring from Freudian thought. In fact, it seems that Bergman was playing off Freud’s idea of both primary and normal narcissism. Persona almost seems to be constructing itself off Freud’s self-titled definitions of Demential Praecox and Paraphrenics (sp?) — Elisabet appears to an off-shoot example of Schizophrenia who is incapable of love or loving. Alma is the hysterical woman unable to escape the grasp of a sociopathic woman hellbent on ruining her. It would be irresponsible and lazy to dismiss Persona on sexist grounds as it comes from a very specific point in time and achieved a whole new sort of cinematic language. Persona is still a gut punch to the senses. In many ways, Ingmar Bergman’s film remains ahead of time. However it is firmly grounded in the world of Art Horror or Psychological Thriller. It is not and can’t be weakened by ideas that we now might deem as outmoded.

But it does beg a bit of examination regarding the ways in which Bergman crafted his two female characters? It is possibly unnecessary, but curious to wonder what a female film artist might have done with the ideas of female human beings in this situation. Would a female or a Feminist-perspective have changed this film for the different or better? Would Alma‘s memory of her sexual exploit be articulated differently? Would Elisabet‘s reactions and actions have been different? Would a sickly little boy reach out for the female faces or would he be replaced by a little girl? Would a female perspective lead us further than Bergman’s conclusion?

Sharing secrets turns into a mentally dangerous act... Liv Ullmann / Bibi Andersson PERSONA Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Sharing secrets turns into a mentally dangerous act…
Liv Ullmann / Bibi Andersson
PERSONA
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

Would it all still break the film strip?

Perhaps of all male filmmakers, Ingmar Bergman was the most interested in female-centric movies. He is not alone. Paul Mazursky, Claude Chabrol, Jacques Demy, Woody Allen and David Lynch are just a few of the white male filmmakers who pursue the stories and even the POV of female characters. Much of their work feels right, but how to know? Can a man really ever know what it feels like for a girl?

Or perhaps more on point: can a male film artist really ever know what it is like to be a woman? …much less even partially understand what it is like to be in her head?

Judging by many films, it would seem more than a little possible.

Intent to harm or heal? Bibi Andersson / Liv Ullmann PERSONA Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Intent to harm or heal?
Bibi Andersson / Liv Ullmann
PERSONA
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

We have yet to have an equal opportunity to experience female film art perspective in equal measure. Let’s hope that we see and hear more from Female Film Artists and Women In Media as we move forward.  It has never been more important to support films made by women and people of color.

Aren’t we all pretty much bored with seeing the vast majority of movies limited to the white male perspective?

Matty Stanfiled, 1.19.2016

 

Who's Afraid of Virginia Woolf? Mike Nichols, 1966 Cinematography | Haskell Wexler

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Cinema is many things, but it is a visual medium. The Cinematographer weaves magic of light, composition, perspective and frames which capture the vision of the film’s director. Here are a few of my favorite cinematography moments. There are other cinematic moments that are better and equally loved, but this are a few that came into my mind…

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Fate is written in the face.”Federico Fellini

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Our job isn’t to recreate reality, our job is to represent reality.”Gordon Willis

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Klute Alan J. Pakula, 1971 Cinematography | Gordon Willis

 

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Manhattan Woody Allen, 1979 Cinematography | Gordon Willis

 

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September 30, 1955 James Bridges, 1977 Cinematography | Gordon Willis

 

“The idea is to find the space and then to light it in such a way that the actors can go wherever they like, and then to respond to what the actors have done. Only at that point are the final frames decided upon. So it can be very spontaneous.” Sean Bobbitt

 

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Shame Steve McQueen, 2011 Cinematography | Sean Bobbitt

 

 

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12 Years A Slave Steve McQueen, 2013 Cinematography | Sean Bobbitt

 

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Hunger Steve McQueen, 2008 Cinematography | Sean Bobbitt

” When we came to film Persona, we virtually discarded the medium shot. We went from wide shots to close-ups and vice versa. Ingmar had seen a certain resemblance between Liv Ullman and Bibi Andersson, and the idea had dawned of making a film about identification between two people who come close together and start to think the same thoughts. The film gave me the opportunity to explore my fascination with the face…” — Sven Nykvist

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

“For me, movies should be visual. If you want dialogue, you should read a book.”

Vilmos Zsigmond

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

Mark Rydell told Zsigmond that The Rose should “look like an abdominal operation.” — Noel Murray of The Dissolve

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“Photography is truth. The cinema is truth twenty-four times per second.”

Jean-Luc Godard

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“A film on prostitution about a pretty Paris shopgirl who sells her body but keeps her soul while going through a series of adventures that allow her to experience all possible deep human emotions, and that were filmed by Jean-Luc Godard and portrayed by Anna Karina. Vivre sa vie.”Jean-Luc Godard

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“The more one talks, the less the words mean.”Vivre Sa Vie

 

Invisible Waves Pen-Ek Ratanaruang, 2006 Cinematography | Christopher Doyle

Invisible Waves
Pen-Ek Ratanaruang, 2006
Cinematography | Christopher Doyle

 

“I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.” Christopher Doyle

 

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Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

 

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Dumplings Fruit Chan, 2004 Cinematography | Christopher Doyle

 

“There’s always a shot or a moment you missed; it informs your work rather than takes from it.” Christopher Doyle

 

Away With Words Christopher Doyle, 1999

Away With Words
Christopher Doyle, 1999

 

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A Woman Under the Influence John Cassavetes, 1974 Cinematography | Al Ruban

 

“Mabel is not crazy, she’s unusual. She’s not crazy, so don’t say she’s crazy.”A Woman Under The Influence

 

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Bronson Nicolas Winding Rein, 2008 Cinematography | Larry Smith

 

“I’m colorblind, I can’t see mid-colors. That’s why all my films are very contrasted, if it were anything else I couldn’t see it.”Nicolas Winding Refn

 

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Only God Forgives Nicolas Winding Rein, 2013 Cinematography | Larry Smith

 

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Calvary John Michael McDonagh, 2014 Cinematography | Larry Smith

 

“I shot much of the film with a handheld Arriflex with a very wide lens and a tiny tobacco tin on the front fitted with a wee bulb to add a bit of fill, just enough to see Catherine Deneuve’s skin in the shadows until I moved in close.”Gilbert Taylor

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

“I believe the look of the picture is inherent in the material. The material will tell you what the picture should look like. Roman [Polanski] took the audience and led them by the nose to a point, then he left it up to you, and let the audience run with their imagination.” — William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“Cinema should make you forget you are sitting in a theater.”
Roman Polanski

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“I love my work. It’s a passion because otherwise you can’t do it.” — Benoît Debie

 

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Irreversible Gaspar Noé, 2002 Cinematography | Benoît Debie

 

“When you see a movie, it’s like you’re attending a show of magic in which the magician pulls a rabbit out of a hat.”
Gaspar Noe

 

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Enter The Void Gaspar Noé, 2009 Cinematography | Benoît Debie

 

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Spring Breakers Harmony Korine, 2012 Cinematography | Benoît Debie

 

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Love Gaspar Noé, 2015 Cinematography | Benoît Debie

 

“You make the movie through the cinematography – it sounds quite a simple idea, but it was like a huge revelation to me.”
Nicolas Roeg

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“I think a cinematographer’s job is to put a director’s vision on the screen. Nic is very clear in his vision and how he wants a movie to look, to feel, to smell.”Anthony B. Richmond

 

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“During the minutes or seconds that this fleeting image is on the screen, you have to enable the viewer to see and especially to experience that there is a very rapid emotional shock. So the lighting has to be designed in such a way that its form can pierce through the screen and travel like an arrow into the viewer’s mind.” — Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

“The beautiful thing about Robby is that he starts the process by talking to you about what the film means, what the story is about, what the characters are about. He starts from the inside out, which is really, really such a great way.”Jim Jarmusch

 

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Down By Law Jim Jarmusch, 1986 Cinematography | Robby Müller

 

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Paris Texas Wim Wenders, 1984 Cinematography | Robby Müller

 

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Breaking the Waves Lars von Trier, 1996 Cinematography | Robby Müller

 

” I’ve had glasses since I was six. Back then, I’d wake up in the morning and do things without my glasses on, and I’d be pretty blind. I’m very comfortable getting up close to things. There’s a sense of discovery that comes with that and it’s something I’m really interested in in my work.”  — Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

“Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photographically.” John Alcott

 

 

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A Clockwork Orange Stanley Kubrick, 1971 Cinematography | John Alcott

 

 

“Style is something that’s extremely important, but it must grow naturally out of who and what you are and what the material calls for. It cannot be superimposed.”
William Friedkin

 

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The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

 

“The camera lies all the time — lies 24 times/second.”
Brian De Palma

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

Dressed to Kill
Brian De Palma, 1980
Cinematography | Ralf D. Bode

 

 

” It’s very pleasant to hear that because my conception of this job is to be a companion or a collaborator. It’s to complete something. It is also making the image as separate from the directing but to be part of the storytelling process. If you have some distance with the film you are watching, you’ll be just attracted. You’ll be swimming in it. Or enveloped, like music” Agnes Godard

 

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Beau Travail Claire Denis, 1999 Cinematography | Agnès Godard

 

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Trouble Every Day Claire Denis, 2001 Cinematography | Agnès Godard

 

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The Intruder Claire Denis, 2004 Cinematography | Agnès Godard

 

“Photographing Citizen Kane was indeed the most exciting professional adventure of my career.” Gregg Toland

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“The enemy of art is the absence of limitations.”
Orson Welles

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
Ingmar Bergman

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Cinematic images are the things of magic.

Matty Stanfield, 1.6.2016

 

 

 

Watching, thinking and studying from all perspectives. Separation Jane Arden Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Watching, thinking and studying from all perspectives.
Separation
Jane Arden
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

The collaborative work between artists and lovers, Jack Bond and Jane Arden, had become the thing of legend. While all three of their feature length films had been acclaimed and considered to represent two of the most important voices in British Cinema, this was largely thanks to the film reviews that lingered on long after they had screened. Jack Bond was coasting on the British New Wave film scene of the 1960’s seemingly destined for great success when he met Jane Arden. She proved to be the perfect match for the talented filmmaker both personally and professionally. Jane Arden was an actor and frequent BBC talking head when she met Jack Bond. Eccentric, intellectual, beautiful, talented, innovative and always controversial — Jane Arden flourished to great heights after she met Bond. Neither of these artists were content to go with the flow of their time. Arden proved to be an outspoken Feminist, provocateur and filmmaker. Jack Bond’s views often matched hers and while every bit as experimental as Arden, he seems to have possessed a key eye for editing that lent itself to giving shape to Arden’s visionary work.

Pain, Rage and Sanity are pushed to extreme limits. The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Pain, Rage and Sanity are pushed to extreme limits.
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Jane Arden committed suicide in 1982. Devastated by her death, Jack Bond quickly set out to secure and store all copies of their 3 feature length films and impressive short feature within the vaults of the British Film Institute. He did so with the legal restriction that none could be screened or released. It is easy to imagine most film artists rushing to promote and celebrate their work, but for Jack Bond these films were far too intimate, personal and revelatory. It was not until some 20+ years had passed that one of Jane Arden’s children contacted Jack Bond. It was her youngest son who convinced him to reconsider his infamous decision to lock away the films. It would not be until 2009 that these three films would be screened and another one to two years before BFI could distribute the newly restored prints to DVD/Blu-ray. Even still, this work remains largely lost to American audiences — and a good many Europeans as well. It was only in the last several months that I began to slip into the worlds that Arden-Bond co-created.

A totally unique cinematic language form this disorienting and disturbing psychological thriller... Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

A totally unique cinematic language form this disorienting and disturbing psychological thriller…
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

These films are all available via the British Film Institute on region-free Blu-ray. They can be found on Amazon or BFI‘s own website. If you truly love innovative, challenging and remarkable Film Art — viewing these three films is essential. Each film stands alone, but all three share a common thread of searching for equality, understanding and full formation of identity. The purpose of this blog post is to promote this work so that it can reach the audience who has not yet discovered it.

Transcendental Meditation and Video Experimentation lend toward an attempt to understand self and environment. VIBRATION Jane Arden & Jack Bond, 1975

Transcendental Meditation and Video Experimentation lend toward an attempt to understand self and environment.
VIBRATION
Jane Arden & Jack Bond, 1975

I will do my best to not provide spoilers. I will also do my best to restrain my enthusiasm so that this is shorter. I will rely upon more than a couple of images from the work. It is key to note that imagery is of utmost importance to the work of Arden-Bond. But it is also crucial to note that their work was not style over content. The content of these films is rich and urges repeated viewings. These films were made by rebellious thinkers and none fit neatly into categorization.

Separation

London's Swinging '60's is explored with equal amounts of intellectualism, style and unique innovation. Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

London’s Swinging ’60’s is explored with equal amounts of intellectualism, style and unique innovation.
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

While Jack Bond is credited as this film’s director, it is clear that Jane Arden was closely involved with almost every aspect of the film. Considered to be one of England’s first truly avant-garde films, Separation is actually a great deal more. Once the viewer adjusts to the film’s often dated but striking innovative method of storytelling, this experimental movie is a highly effective study of a woman falling apart — or away from life.  A middle-aged woman’s emotional and mental crisis results not so much from a failed marriage or poor choices — but from the societal and cultural judgements made against women as they age. Ideas of “reality” and “fantasy” are constantly blurred. Most certainly surreal but never dislodged from logic or realism.

The future, the present and the past all whisper our leading lady further into conflict... Iain Quarrier, Jane Arden and David de Keyser Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

The future, the present and the past all whisper our leading lady further into conflict…
Iain Quarrier, Jane Arden and David de Keyser
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

This is as close as Arden-Bond got to “light cinema.” It could be argued that the majority of this film takes place in the female protagonist’s inner self. As viewers we can only ever be certain of her past. Her present and future slip between what feels like cerebral fantasy to an alienated realism. Has she left her husband or has she left what appears to her idea of an out-dated Patriarchal Institution? Has she abandoned her child or has she lost the child? Is this good-looking, young and eagerly hip dude her new lover or imagined? And what of this other women who populate the film’s non-linear storyline?

Forever late or too early... Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Forever late or too early…
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

For a film shot on the streets of the ever-styling streets of late 1960’s London, Separation does not look like most of the British films that came out of this period. The editing is never self-conscious or overtly eager to confuse the eye. Procul Harum provide a good deal of the film’s music and Mark Boyle’s celebrated Pop Art lava lamp-like projections jolt the film with sporadic uses of vivid color. Unlike most movies of this era and place, these are not used to trip us out — but almost more to stumble us further into the protagonist’s crisis. Much of the film is filmed in lush black and white.

Groving by force or choice? Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Groving by force or choice?
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

At turns naturalistic and stiffly artificial, Separation brims over with ideas and theories. Jane Arden’s Feminist Theory has started to take form but is still growing. This is largely a film of questions, doubts and fear. Our character is falling apart, but it is unclear if this is headed toward Nihilism or hope. There is a strong possibility that Jane Arden’s character is not so much falling apart but might have already broken into pieces. She might actually be in the process of reformation from the ruins of oppression and conformity. This magical film is sharply focused toward the struggle of Feminist Equality. It is sometimes sad, but often quite funny. Separation offers more insight than can be caught in one viewing. The film’s power grows with repeated viewings. It is a cinematic work of surprises and insights.

Looking deeper into the self than the viewer might anticipate. Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Looking deeper into the self than the viewer might anticipate.
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

In many ways, Separation can be viewed as Jane Arden’s first step into understanding the self from both the intimate and cultural perspectives. She has latched on to the ideas and the importance of Feminism, but is still aching to understand how to grab it without breaking into a million tiny pieces. Jane Arden wrote the film and stars. Jack Bond’s hand as a filmmaker pulls all of it together into a cohesive cinematic work. Truly brilliant and way ahead of its time.

The battle of the sexes takes a darkly comical turn... Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

The battle of the sexes takes a darkly comical turn…
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

An artistic and Nihilistic study in Feminist Theory takes a truly cinematic dive into a woman’s subconscious. This film is fascinating, intellectual and surprisingly current. Tragically it was given a rather limited release after it was made. It says a great deal that the reputation of this film survived as the movie itself sat on shelves in the dark corner of The British Film Institute‘s vault.  If you like films that make you think and take you to unexpected places, this is not a film to be missed.

A man's death offers a woman a way out. She put a pretty ribbon on "it" Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

A man’s death offers a woman a way out. She put a pretty ribbon on “it”
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

Whether Jane Arden’s fictionalized Self is falling together or apart is debatable, but one thing is most certainly clear: she is separating herself from the constraints of her society and culture. She is looking outward for equality and refusal of oppression. She is looking inward for understanding her self and why her identity is so fragmented and torn. Another important element which has already taken form in Arden and Bonds’ philosophy is the teachings and theories of Jacques Lucan. Most correctly called Lucan Theory is most often referred to as The Anti-Therapy Ideology. This rejection of typical Freudian and psychoanalytical thought is certainly hinted at within the frames of Separation. Ideas of symbology, the real, the imaginary and the power of the mirror are present thought the film, but Arden-Bond would soon be pulling their audience full-on into these concepts with their next film.

Symbology, projection, imaginary and real mix to form not only a film, but an entire philosophical approach to the art of filmmaking. Iain Quarrier, Jane Arden and home movies... Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Symbology, projection, imaginary and real mix to form not only a film, but an entire philosophical approach to the art of filmmaking.
Iain Quarrier, Jane Arden and home movies…
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

As I’ve already mentioned, Separation was a critical hit at the time of release. Arden-Bond made a film that captured the Counter-Culture and Swinging London of the day but made something far more than a time capsule piece or celebratory work. It could have pushed both forward into the world of cinema, yet neither chose to go in that direction. Instead both continued their mutual and individual personal journeys. It would be over four years before they re-entered the filmmaking world. Arden focused on theatre. Her focus was the thing of legend. Never afraid or shy of controversy or public self-examination that she felt was important for other women as well as men, she wrote, directed and acted in several notorious experimental theatrical productions.

The most important of these were Vagina Rex and the Gas Oven and, most importantly, Holocaust: A New Communion for Freaks, Prophets and Witches. While these plays were carefully scripted, Arden loved collaboration. She encouraged her actors to follow their instincts. Improvisation and audience participation happened. These experimental pieces were controversial and pushed well past the British Theatre boundaries. Yet they were successful. Constantly on the verge of being banned and/or jeered, these performances are as discussed as the work of Joan Littlewood. Yet whereas Littlewood was concerned with finding ways for lost teens of East London to channel their anger, boredom and frustration into art, Arden was deeply and profoundly concerned with pushing forward Feminist Theory.

What is identity? The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

What is identity?
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Tied up within Lacan Theory as well as her own personal demons she felt and saw reflected back to her from the Self-Mirror, this Feminist work was more focused on shaking off the pain, rage and cruelty of centuries patriarchal oppression. Sexuality was discussed full-on and often turned from sex objectivity to sexual confrontation. Pain and Rage were explored from both the practical and a growing ideology of Arden’s in which she connected the oppression of women directly to colonialism. These two plays would lay the groundwork for a number of important artists and careers. Of the artists, Sheila Allen was become the most prominent. Natasha Morgan would go on to play a crucial role in the British Women’s Liberation Movement and is now a respected and sought-after psychotherapist. Both of these women gave oral histories for BFI at the time that Arden-Bonds’ next film was restored and re-issued. And what a film it is…

The Other Side of the Underneath

Born out of both of her successful experimental theatre pieces, this film was intended to a combination of both plays. Jane Arden wrote the screenplay and insisted that Jack Bond give her full reign as the film’s director. He would go on to participate as cinematographer and “actor.” He would hire David Mingay as the film’s editor. Both Arden and Bond worked closely with Mingay as the film was pulled together. Bond would also take on the responsibility of getting the funding and all the required “items” for filming. These “items” included a brown bear, participation of local Wales coal miners, community members, a band of roaming gypsies, participation of actual mental hospital patients, several mentally/physically challenged individual from government institutions and most famously — Bond would secure a steady supply of LSD. The production of this film is notorious.

Centuries of Cruelty projected on to the face of a bride... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Centuries of Cruelty projected on to the face of a bride…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Most shocking is the fact that there doesn’t seem to be any distortion or untruth in its infamy. The bear would break free and threaten the safety of the tripping cast, the locals would break into fist fights, the mental patient and the mentally retarded would run away. And the actors would trip out. Led by a drunken but self-assured Jane Arden, these trips often took dark turns. She seems to have been able to lead them all through it. The ethics of this film production are most certainly questionable. But this was also what Arden-Bond and friends were after: A deadly pursuit of understanding the pain and rage of the oppressed and repressed.

"Mine! Mine! Mine!" "She has a pretty face!!!" Sheila Allen taunts with her human puppet... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

“Mine! Mine! Mine!”
“She has a pretty face!!!”
Sheila Allen taunts with her human puppet…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Armed with an endless supply of wine and cigarettes, Jane Arden secured a number of volunteers to appear with her in front of the cameras. Both Sheila Allen and Natasha Morgan were present. The idea was that the entire cast and their director would live “on set” in a decaying old farm house for the duration of the filming. They also agreed to wear their costumes, Victorian Era type nighties, for the duration. Oh, and they also agreed to drop Acid repeatedly throughout all filming. Sheila Allen refused to live on set or to trip out on LSD. Accommodations were made for her to stay at an inn a few miles away. Natasha Morgan was initially hesitant to participate. She agreed to come along as the casts’ cook. However, she changed her mind and joined in. These two actors would figure prominently in the film. Penny Slinger was another actor and activist of import who participated. The lead role was given to an unknown woman who was new to the whole scene, Susanka Fraey. She would end up playing the leading character of the piece.

Susanna Fraey is the Protagonist... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Susanna Fraey is the Protagonist…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Sally Minford, a Cellist, and her daughter would also participate. Obviously the child did not receive drugs. And as far as I can tell, Ms. Minford declined to take part in the LSD tripping. However, her role was limited to that of Cellist. She would compose and perform the film’s musical score throughout. Clearly skilled, the musical goal here is not beauty or melody but danger and threat.

I do not view it as a bad thing that I have had to watch Jane Arden’s The Other Side of the Underneath three times before I could form a solid opinion. Quite the contrary, I love the fact that this film’s complexities run so deep that it requires a great deal of thought. There is nothing “easy” about this bold work of film art. This profoundly disturbing film goes places to which I’ve never seen filmed before. Reckless, Dangerous and Bad To Know, this movie rattles more than just cages. This film amps its way from frenzy to hysteria and on to a sort of free-form descent into hippie dystopian vagrancy. The film pulls no punches as it is far too busy bluntly plummeting the subject matter and the cast into a submission of unfettered pain and self-examination. This is a particularly collaborative work and everything in the film depends upon the female cast members who agreed to participate.

The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Decidedly not plot-driven, this film does present us with a protagonist. A young woman “played” by Susanka Fraey is “fished” from a lake where she has attempted suicide. She quickly finds herself in a sort of mental asylum where all the women are dressed in Victorian style nightgowns and roam about freely. Both patients and gate keepers, it almost appears as if this insane asylum is self-contained. Only one person seems to be “in charge” within this madhouse and that is a firm psychiatrist played by Jane Arden herself.

While the film is largely concerned with the Anti-Psychiatry Movement evolved from Jacques Lacan, it is actually far more concerned with the seemingly unbearable rage repressed within the women that takes on an epic level. The strong feeling is that this rage and pain has been individually and universal-shared history of oppression and patriarchal cruelty. Our unnamed protagonist is forever roaming the corridors, hidden spaces and grounds of a madhouse that is truly “mad” and in mortal danger from the pain it all seems to inflict. She along with her fellow inmates are searching through the wreckage of self and shared identity / identities. There is a constant and unrelenting energy conveyed which is full of menace and danger. Nothing feels “acted” and everything we see takes on an importance that is hard to grasp and often even more challenging to watch.

LSD Manipulated to project the deepest pain... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

LSD Manipulated to project the deepest pain…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Sheila Allen serves is a sort of evil Court Jester who uses patients as a puppets and torments everyone with mind-numbing insanity. She also morphs into a Burlesque Stripper From Hell who uses her sexuality and body as a threat instead of an object. Her voice and performance haunt the entire film. This was a long way from The BBC or Harry Potter. Susanna Fraey is almost ever present and carries a great deal of presence on the screen. Possessed with a haunting face and effortless beauty, she is at once victim and victimizer. Penny Slinger gives a particularly potent and oddly focused performance. It is opposite Slinger that we see our protagonist’s as a source of danger.

A Mirror Identity Game to the Death... Penny Slinger & Susanka Fraey The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

A Mirror Identity Game to the Death…
Penny Slinger & Susanka Fraey
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Utilizing the Lucan Mirror Theory, the two young women sit opposite each other with large splinters of mirror all around them. What begins as a sort of Identity Game to the death, it is clear that Slinger is intending to murder Fraey, but with a sneak of a tender kiss she is able to throw Slinger off course. Intended killing swept away by tenderness, Fraey had trapped her in her own glass web. Just as the kiss ends, her knife slips into Slinger.

The film is built around a long sequence that is a sort of support group / open therapy. Tripping out on acid and under the guidance of the project built from the stage productions — these women have been led to a place while in mind-expansion mode. The melt-downs are intense, horrific and almost unbearable. It is here that Natasha Morgan’s participation would become most valuable. Her emotional break is at once horrific, painful and almost unbearable. At the same time, it is here that the film presents itself at its most human. Mixing with all of the production challenges, these pseudo group therapy sessions add to the movie’s intention of pure hysteria.

A victim of her own game... Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

A victim of her own game…
Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

As these women demonstrate their emotional pain and personal rages/horrors — our protagonist is led into a danger game of mirrors, sexuality, psychic death and crucifixion. Sexuality is explored in various ways. At times the female body is shown as an object for men to rape or harm. Other times it is shown as pleasure born from pain and fear. And then it is also shown as something beautiful, pleasing and erotic. According to the record of production, Arden decided late in the filming to have her lover/collaborator make love to actress, Penny Slinger. Pushing them to extremities, this scene is tender, soft and erotic. Jack Bond’s “character” clearly understands female anatomy and brings pleasure — not threat, rape or pain.

Unscripted, Arden has her lover make love to one of the inmates. Jack Bond & Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Unscripted, Arden has her lover make love to one of the inmates.
Jack Bond & Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

As the film amps its way to conclusion, the protagonist’s journey feels more ours than hers. We follow her through a house and landscape of pain, horror and sometimes promise to abject confusion. In the end the question of identity and self-acceptance is tossed onto a dirty cold slab of a floor. Is there to be redemption or healing? More likely it is a struggle that has only just been recognized and has a very long way to go.

As erotic desire is expressed the audience holds its breath only to discover that the male lover understands the woman's body. Jack Bond & Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

As erotic desire is expressed the audience holds its breath only to discover that the male lover understands the woman’s body.
Jack Bond & Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Intentionally unpleasant and contradictory, Jane Arden created a film that demands your attention. This is less a movie and more of a cinematic experience. Not for the faint of heart, this is a grim and repulsive study of female identity that refuses to let you go. Strange, darkly comical, surreal, horrifying, raw and truly unforgettable — Jane Arden’s film floats somewhere between Jean-luc Goddard and Ken Russell, but with an entirely different goal in mind. The horrors she and Jack Bond captured are all the more devastating because we realize that beneath the surface — what we see is real.

Going mad... Sheila Allen The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Going mad…
Sheila Allen
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

The next couple of years found Jane Arden and Jack Bond exploring further into the self with use of Transcendental Meditation, Chanting and the aid of Gurus and other mystics. One gets the sense that Jack Bond followed his love on her quest to grapple with her own depression. The result of these mystical exorcises would be put to use in their short film, VIBRATION. To 21st Century eyes, the videography feels grounded and dated. However when one realizes this film was made in 1975, the artistry must be admired.

Jane Arden had developed her own theory regarding the self and coping against repression and anxiety. I will not go into detail, but she called this idea RAT. Essentially the idea was to reject all rational thought. Arden’s life’s journey begin to slip away from Feminism and toward The New Age ideology of Humanism. The problem was that both she and Bond could see how this ideology was not only threatened by a larger control — plans seemed to already be falling into place to control not only individual actions, but our thoughts as well. What might have seemed paranoia rising above the slams of inflation and PUNK, turned out to be somewhat prophetic.

"This is my Anxiety Survival Broadcast ensuring a past future programing. My brain is recreating a negative repeat pattern." Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“This is my Anxiety Survival Broadcast ensuring a past future programing. My brain is recreating a negative repeat pattern.”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

Keep in mind that the final film made by Arden-Bond was before anyone in England knew about CCTV which would soon be filming almost every human movement in the country.

Anti-Clock

Unlike Separation and The Other Side of the Underneath, Anti-Clock less concerned with Feminist Theory than that of retaining humanity in the face of cultural and societal oppression  as the standpoint for understanding identity. The exploration of Self had culminated toward a Humanist ideology. The central character of this highly experimental “thriller” is a suicidal man played by Arden’s son, Sebastian Saville.

"Life force cannot be controlled by your little brain machine." Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“Life force cannot be controlled by your little brain machine.”
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

Filmed in London during Great Britain’s dark economic dystopia and the rise of Punk Rock, this film is interestingly disengaged from that history. Even more interesting, is the contradiction that it would be hard to imagine a more “Punk” film. Decidedly more punk than anything Alex Cox or Derek Jarman made at the time, Arden and Bond had not let go of their anger and rebellion against societal and cultural repression, but this film crafted a whole new sort of cinematic language. A linguistically intelligent use of carefully filmed and found video/film material forms something altogether new and unique.

As our suicidal protagonist works toward trying to survive, he is “assisted” by an archetypal psychiatrist (also played by Saville) and a group of scientists, mathematicians and others who rely upon constant video surveillance to monitor his every movement. Most fantastically, they are using these transmissions as connection into his cerebral logic. It is fairly clear that these persons are connected to the government. Less assisting and more studying in an attempt to control their subject, Joseph Sapha. Joseph quickly becomes suspect of these who claim to want to help him. It is particularly chilling that this film was made just a few years prior to the creation of CCTV.

"open your eyes." "they are open." "then why can't you see?" Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“open your eyes.”
“they are open.”
“then why can’t you see?”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

The style/styles of the film may not seem as cutting edge as they must have some 30+ years ago, but this film retains a subversive, disturbing and unsettling impact. It is also still very sharp. It is a film experience to be handled with a careful eye and ear. One missed action of sound and the viewer can become lost in Joseph Sapha’s delima. Watching Anti-Clock is not an easy film. But unlike I anticipated, it is NOT a pretentious work of art. It is a clever manipulation of the medium to convey a story that is not only horrifying but alarming relevant to the 21st Century.

"Thoughts hang around for a very long time. To be precise: forever." Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“Thoughts hang around for a very long time. To be precise: forever.”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

A sort of Proto-Punk exploration into humanity and a government that dares to study, manipulate and control those who dwell within its borders. Joseph is a young sort of “Every Man” who, like many of us, has had a troubling childhood and life. As this experimental and innovative film pulls us into the video and sound-looped world, the experience is an intellectual, surreal and disorienting jolt to the senses. Slowly the viewer becomes a part of the film’s strange logic. As Joseph grapples with his sexuality, guilt, loneliness and vexing non-purpose in life — the past, present and future are filmed and played discordantly against the idea of order. In a profoundly confused and desperate state of identity crisis, the “help” being offered is not aiming to provide what he anticipates.

But “they” and “he” are all led to a truth that is chilling and unforgettable.

"The patterns inside me were beginning to disconnect. By patterns, I mean those cycles or spirals of thought or behavior which i have been taught to call 'myself.' This 'I' is simply space. And where the strands of energy costs is a dot. And this dot is the delusion called 'my identity.'" Sebastian Saville aims the gun. Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“The patterns inside me were beginning to disconnect. By patterns, I mean those cycles or spirals of thought or behavior which i have been taught to call ‘myself.’ This ‘I’ is simply space. And where the strands of energy costs is a dot. And this dot is the delusion called ‘my identity.'”
Sebastian Saville aims the gun.
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

NOTE: The BFI disc contains a newly re-edited version of this film by Jack Bond. Bond re-crafted the film in 2005 in an attempt to make the film more clear to modern viewers. Skip this version. Bond does not improve the film or create a more coherent film experience. If anything he saps a great deal of he and Ardens’ exceptional creativity. To be honest, his 2005 re-edit reminds us how crucial Jane Arden was the vision.

This movie may not be everyone’s idea of a thriller, but it is a powerful work of art. Anti-Clock also serves as a fitting end to the Arden-Bond collaboration. These three films form a logic circle of journey to Self. It is a provocative, controversial, difficult, dark and brilliant cinematic journey. It took Jack Bond close to two years to edit the film together. Filmed with various forms of media — largely 1970’s video cameras of different sorts. Very often he applied chemical “treatments” to video footage to gain new and very unique images. These are interlaced with old assembled footage of dictators, monarchs, war, propaganda and a constantly unrelenting manner of sound editing.

"There is a continuum which links all living things together so that the smallest cell does not pulsate without its effect being felt in the furtherest reaches of the solar system. So, everything being one is not some romantic ideal, but an indisputable scientific reality. When this information seeps into our consciousness, it must change the moral structure of society and destroy the value system of the rational world." Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“There is a continuum which links all living things together so that the smallest cell does not pulsate without its effect being felt in the furtherest reaches of the solar system. So, everything being one is not some romantic ideal, but an indisputable scientific reality. When this information seeps into our consciousness, it must change the moral structure of society and destroy the value system of the rational world.”
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

The look of this film remains oddly potent and totally unique in the way it has been assembled. This odd and disturbing film was championed in 1979 as a brilliant psychological thriller. However, it only played in a few cities in the US and a very brief run in London. It also served as a connector to French Film Master, Claude Chabrol, with whom Arden was to work. By the time the film opened Jack Bond and Jane Arden had ended their relationship. It might have seemed that Jack Bond was lost while Jane Arden was on her way to a new artistic vision in France. This was not the case.

Jane Arden would take her own life in December of 1982 at the age of 55. Jack Bond would go on to work as a documentarian for the BBC. He remains an artist of note in Great Britain.

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Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

The film work they co-created remains vital, powerful and very much alive.

Matty Stanfield, 12.30.2015