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How? Why? REPULSION Roman Polanski, 1965

How? Why?
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.


Knife in the Water

Roman Polanski, 1962

Cinematography, Jerzy Lipman







“Give me back my knife.”



” So, you do know how to swim.”




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











” Sailors get mast-headed for that…”


“You’ve drowned a boy.”


Matty Stanfield, 5.3.2016


FELT Jason Banker, 2015

Jason Banker, 2015

I was well acquainted with Jason Banker’s fist film, Toad Road. I love his first film. If you have not seen it, seek it out. Toad Road is streaming via Netflix and AmazonPrime. So I was excited when I had a rare opportunity to see his second and latest movie, Felt, last year. At that time Felt had only had two official screenings. I had no idea regarding the subject of the film when I first saw it.  Felt was so such a jolt of the senses my jaw had fallen leaving my mouth open in a mixed state of awe, confusion and shock. I knew I liked Banker’s new film, but it filled my head with so many ideas, challenged my personal ideas of cinematic reality and was deeply unsettled. I was unable to form a clear opinion to write anything that would matter. This didn’t thrill the individuals who had asked me to write a summary and review. As promotion for the film began I avoided reading any reviews or much in the way of commentary. Aside from a couple of interviews with Jason Banker, I only watched the two trailers.

It would be June of 2015  before Felt would reach San Francisco’s Roxy Cinema. I do not enjoy The Roxy. I’m sorry. I just don’t like seeing movies there.

The Roxy Movie Theatre is a historical building. It is actually the second oldest continuously operating movie theater in the country. The Roxy is an odd experience within and of itself. No matter how hard the owners and the city have tried, years of decay have created an odd atmosphere. There are two screens. One of the screens is sort of disconnected from the other. It almost feels like an after thought from the late 1970’s or the early 1980’s. I’ve never had an enjoyable viewing experience there. I think this is because of all our cinemas, The Roxy tends to attract all groups of The San Francisco Cinematic Audience under one roof.   The San Francisco Cinematic Audience can be a strange mix and one is most likely to encounter it at The Roxy. Situated in the prime real estate of The Mission it is a natural magnet. I break down the SF Cinematic Audience into 3 stereo types:  Hardcore Film Art Cinephiles, SF Hipsters and Fringe Art Eccentrics. Reactions and interactions tend to be “extreme” or “muted dissonance” —  you never quite know what to expect. The one thing you can expect if you see a intense, controversial or polarizing work of art at The Roxy you can anticipate debates and even arguments as you make your way back to Mission Street.

As an example, I attended a screening of Christophe Honoré controversial 2004 film, Ma Mere, at The Roxy.

Ma Mere Isabelle Huppert Christophe Honoré, 2005

Ma Mere
Isabelle Huppert
Christophe Honoré, 2005

It was not even a new film. I has seen several years earlier at another old cinema which is now long gone and forgotten. Ma Mere is a challenging and polarizing movie on its own without the added projection of our SF Audience baggage. The theatre was not full. The audience seemed to have an equal number of men to women. All of my Roxy stereotypes were present. Cinephiles, Hipsters and Eccentrics were sharing the space.  The entire audience sat in silence as the credits rolled. I was ready to leave, but I didn’t want to be lectured. So I sat. No one stood up or shuffled in their seats. It was total silence. And then it happened. A long and exaggerated “hiss” was aimed at the screen. Then two more “hissers” joined in.

This is the dreaded San Francisco Hiss. A prime example of our city’s strange sense of entitlement that often “requires” the SF individual to feel the need to hiss at movies, performers or artists if their viewpoints do not align with his/her own. It is as annoying as it is funny. But make no mistake, The San Francisco Hiss is quite serious in intend. It carries more impact here than a “Boo” or a tossed cup. The tricky thing about The San Francisco Hiss is that it tends to set off a chain reaction of one sort or another. I often feel like my fellow citizens feel that his/her own individual opinion is far more important than any other. All one needs to do is ride a MUNI bus from the beach to Union Square to see these clashing “entitlements” go to battle. This often evolves into full-on-rage fueled rants. Inevitably someone is asked to exit the bus. The bus driver must firmly stand his/her ground. The bus stops. It will not move until the one or two individuals who have gone too far step out. Traffic jam ensues. Everyone is late.

Welcome to The New French Extreme Ma Mere Louis Garrel and Isabell Huppert Christophe Honoré, 2004

Welcome to The New French Extreme
Ma Mere
Louis Garrel and Isabell Huppert
Christophe Honoré, 2004

As one would expect this “hiss” aimed at Ma Mere created anger toward the hissers. By the time the lights came up a highly encaged debate was in full tilt boogie. The hissers were  white male hipsters. Of the five annoyed hiss protestors were two females of the Cinephile type, one male of the Team Eccentric and the other was a woman of the Hipster variety. It was the only screening of the day. I sat and listened in. And I took notes.

“You’ve no right to ruin the experience for the rest of us!’

“Dude! It was the credits!”

“This is an important film! You are both too ignorant to understand it!”

“Oh I think we know pornography when we see it!”

“Fuck you!”

“No Fuck you!”

At this point it was best to quietly walk past them as the poor Manager (of Team Cinephile) was about to attempt to guide the argument out to The Mission. I’m sure everyone made it out fine. It is just the way it tends to be when you go to The Roxy. Especially if it is the last evening screening.

If Ma Mere is polarizing, I’m not sure where this would leave Felt. Jason Banker’s film is beyond “polarizing” — it is an intentional and intense provocation. I decided I would never get to see Felt on a big screen.

I made the right decision. A pal emailed me of his experience at The Roxy after watching Felt. The film profoundly disturbed him. The mixture of hissing and shhh’ing made him leave before the credits were done. As he walked back out to the reality of Mission Street, he noticed three women gathered together discussing the movie. I asked him of which “group” they were members. He was not sure, but he guessed they were fellow Art House Cinephiles. Because of the nature of the film he had just seen he was hesitant to approach these three women who were all hugging themselves. He guessed that all three women were probably somewhere between the ages of 24 and 28. He was most definitely sure that all three of these women were intelligent, cool and “casually” beautiful. My friend put his hands deep into his hoodie’s pockets and asked, “So, how do you all feel about ‘Felt‘?”

Amy Everson  FELT Jason Banker, 2015

Amy Everson
Jason Banker, 2015

Luckily none were offended. He told them about a friend of his having already seen Felt (that would be me) and that I had yet to be able to articulate an opinion. All three women agreed. Felt had left them with a great many mixed emotions. As he prepared to walk away one of the women volunteered, “It’s so weird I hardly ever allow myself to think about it. But I’m always so uncomfortable when I’m in a room with more than a few men.” The other two women nodded in agreement, but none could articulate why. He agreed and mentioned that he got a sense of that feeling in the movie, but he couldn’t find the words. No wanting to seem “lame” he said he thought the movie offered a lot of ideas but didn’t clearly answer why women feel so threatened by men. Mistake.

He wished them a good evening and started walking away and the more assertive of the women called out to him, “Actually, it was in that movie.” The reason is actually very clear in Jason Banker’s movie.

Amy Everson  FELT Jason Banker, 2015

Amy Everson
Jason Banker, 2015

Felt became available for purchase as VOD via iTunes this week. I bought a copy and watched it again.

I hit the Internet and read opinion from Film Critics, fellow bloggers, Letterbox and the fun world of IMDB user postings. Film critics are divided when it comes to Felt. What I find interesting about The Film Critic Response is the information one discovers by reading between their lines. The majority of the reviews seem to be afraid to either fully dismiss or fully praise Felt.

Ben Kenigsberg’s New York Times review stuck me as being particularly off-mark. Due to The Times recent policy change related to which films are reviewed, it says a lot that they opted to even review Felt. Their current logic in what films they will review and which films they will not review is more than a little confused, but I am impressed that Felt was considered.

Amy Everson Super Hero? FELT Jason Banker, 2015

Amy Everson
Super Hero?
Jason Banker, 2015

Kenigsberg summed up Felt, “Reading about the filmmakers’ intentions is more rewarding than watching the results.”  Meaning that The New York Timesfelt” that Felt‘s cinematic intention had to be praised, but this critic seemed to need to find something about Jason Banker’s movie that would allow him not to praise the over-all result. I write this because Kenigsberg’s deconstruction of Felt feels almost painfully weak. He assigns a generally unfavorable review by taking aim at Banker’s “ambiguities.” Mr. Kenigsberg  even goes so far as to challenge the title of the film. He expressed confusion about whether he should view the title as a noun or a verb. The title is no riddle. There is nothing “ambiguous” about it. A sixth grade child would be able to understand that the title of this movie is intentionally both a noun and a verb. Felt is filled with ambiguities. The title is not one of them. Felt‘s ambiguities are intentional. Even if an individual dislikes the film, he/she will note the the “ambiguities” are a major reason that the film holds interest. The “unstated” within Banker’s Felt is what makes it a true cinematic experience.

As I read Ben Kenigsberg’s review two points emerged:

1. It is not the ambiguity that bothers him, his real issue is the uncomfortable cultural statement Felt asserts.

2. He doesn’t care for Amy Everson’s artwork. He actually seems to hate it. It disturbs him.

Everything about Jason Banker’s Felt is intended to unsettle, uncomforted, disturb and it requires both women and men to think about the ways in which we play into a system not of our own design. What the film presents is not a new problem. It is both a cultural and societal issue that has become so deeply entrenched that a jolt is needed to wake people up. I’m not trying to state that a movie is going to change anything, but this film just might be a catalyst for many to reconsider how they interact with the opposite sex.

Please note: I’ve nothing against Ben Kenigssberg. I think he is a sound, educated and professional Film Critic. His intelligence shines, but if he dislikes Felt he has failed to actually defend his position. I wanted to highlight his review because he is a member of a team of film critics who I admire. Unfortunately, he is one of many who have chosen to take the “safest” route to disregard this film. Most of these “safe-routed” dismissals fail to point out any credible reason to dislike the film. In fact the majority of bad reviews are not hinged on any real merit.

Only a handful of the bad reviews took a firm ground.

A Borrowed Gender Amy Everson FELT Jason Banker, 2015

A Borrowed Gender
Amy Everson
Jason Banker, 2015

Marjorie Baumgarten of The Austin Chronicle is reasonable in her dismissal of Felt. While she has no problem admitting to the film’s intended provocation and import of ideas, she found the movie to be stylized in a manner too obvious for her taste. There were also a couple of Film Critics who saw the potential of a great film, but disliked Jason Banker’s choice of improvisational dialogue. I don’t agree with either viewpoints, but I can understand these opinions. This is logical film criticism. It is also the sort of criticism that often met John Cassavetes. None of his films were actually “improvised” but they all felt like it. And Cassavetes never “rushed” the pace of a movie. Many critics disliked a great deal of his work. But those who were brave enough to embrace it bear out the winners in Film Theory. You would be hard pressed to find a Film Critic who would trash a Cassavetes film now. Robert Altman also received a number of negative reviews in his day for many of the same reasons.

Film Critic, Jenni Miller of A/V Club gave Felt a positive review. Her summation is that Jason Banker’s movie might be a little too close to the bone to enjoy, but this is outweighed by the significance of what is being conveyed. Miller doesn’t need to “enjoy” a movie to see its value. When she writes that Felt “sneaks up on you and lingers…”

Amy Everson FELT Jason Banker, 2015

Amy Everson
Jason Banker, 2015

she is able to state the power of the film. In the end she assigns a “B” rating, but it seems given with a firm warning that this was no fun for her — and it may be equally un-fun for you.

Of the few truly positive reviews Felt received, The Village Voice‘s Diana Clarke actually formulates her words in the way I so wish I could formulate my own.

Her review can be found here:

Andrew O’Hehir of is one of the few critics who liked the film. He clearly put some thought into what he wrote. Of course, this is his job. He also makes a potent reference to recent mainstream movies that almost seem to celebrate Rape Culture. Like Ted 2. I was particularly impressed when I saw that Rotten Tomatoes chose this O’Hehir quote: “Some viewers will no doubt find “Felt” maddening because it never answers seemingly crucial plot questions that a normal movie or TV show would feel compelled to clear up. That ambiguity is precisely the source of its power, and its cinematic quality.”

Ben Kenigssberg, can you hear Andrew O’Hehir? This is Film Theory 101. Ouch. Maybe I am picking on Ben. I’m sorry.

If any of the Film Critics I know happen to read this, please start assigning a rating to your reviews. It sucks, but this is now a full world of Film by Consensus. Rotten Tomatoes is assigning their own rating to many of your reviews. And they are not accurate most of the time. Take head of The New York Times and A/V Club. Do not let RT decide the rating of your review.

Playing with fire... Amy Everson FELT Jason Banker, 2015

Playing with fire…
Amy Everson
Jason Banker, 2015

The most disturbing thing I noticed regarding The Public Reaction was the number of women who were angered by not only Banker’s film but by the idea of Feminism itself. There are a lot of women out there who view Amy Everson as the enemy. This caught me off guard. It doesn’t surprise me that a number of “dudes” out there hate the movie. It would also not surprise me if a good number of women disliked it. Art is subjective. And Film Art this provocative is not always going to win everyone’s heart. But I am shocked at the level of female anger toward Feminism. I don’t get it. But then, I am puzzled by hate in general. It is so very extreme. The level of hate “out there” is staggering, but the level of misogyny and self-loathing is even more horrifying.

Jason Banker, the filmmaker who made the most out of a tragic and senseless tragedy into a surrealistic experimental horror film we know to be Toad Road, has now matured into a far more self-assured Film Artist. A potent Cinematographer as well, Banker brings a great deal of talent to the table. Felt came about thanks to accidental meeting between Amy Everson and Banker. During a visit to San Francisco, Everson caught Banker’s attention because of her playful yet aggressive demeanor — and the fact that she was running around the city in one of her provocative costumes.  As I understand it, Everson showed her artwork to Banker. The work he first saw was all contained in her bedroom. A hybrid of “Sesame Street” kitsch intertwined with sex toys, phallic symbols, dildos, vaginas, assholes and soft doll-like re-enactments of menace. All or much of the work utilizing felt as a key media. Amy Everson is brilliantly talented, fearless and a provocateur. Even the seemingly most innocent creation achieves a vaguely erotic danger.

Art by Amy Everson FELT Jason Banker, 2015

Art by Amy Everson
Jason Banker, 2015

Her work is often tinged with a twisted sort of humor and some of it is just deeply disturbing.

Although, I share my life with a San Francisco artist and know a good many, I’ve only heard/read her name a couple of times. There is a whole other aspect to her work which incorporates Performance Art with her costume creations. Jason Banker was equally impressed as he was disturbed. It was from this jumping point that the two artists began to collaborate toward what would become Felt.

Amy Everson FELT Jason Banker, 2015

Amy Everson
Jason Banker, 2015

If you are interested in Amy Everson’s art, a link to her website is below. She is a completely unique and important voice. Check it out, but please don’t “flame” her. It takes a whole lot of guts to lay your soul out for all to see. As I look at her work, it seems to me she is sharing some very intensely intimate glimpses into her being. I’m sure the recent release of Felt has been more than a bit challenging. Though, I hope it has been rewarding.

And now, my opinion/review for Felt:

Jason Banker’s film begins with a painfully thin young adult woman who appears to have fallen into a deep depression. We first hear her voice in the form of narration. Her voice sounds a bit like “a little girl” yet what her voice delivers is a firm thud of certainty  “My life is a fucking nightmare.BAM! It is this line that propels us forward into not only into the film, but her mind.

Amy Everson is more than the film’s lead actor. She also shares “co-writing” credit with Jason Banker.  And she is doing more than playing a character, the film’s core ideas are based not only on her artwork, but certain aspects of her  personality. Amy Everson is playing a “fictionalized” version of herself. While it is sometimes clear she is not a trained actor, she carries a great deal of charisma. You want to watch and understand this character. You want to try and like her.

"My life is a fucking nightmare." Amy Everson FELT Jason Banker, 2015

“My life is a fucking nightmare.”
Amy Everson
Jason Banker, 2015

Felt‘s Amy has survived some form of sexual abuse. The actual abuse is never stated or confirmed, but it seems obvious. Her friends want to help her, but are growing weary of her artistic and creative coping skills. Not only have these coping skills become isolating, they seem to have opened some dark portal into which she falling. These pieces of art and the costumes she creates are disturbing, provocative and somehow menacing and they are fusing into her identity. She has become dazed, lonely and nihilistically numb. Amy’s costumes allowed her to access inner-strength. Their designed to not only give her a sense of worth and purpose, it feels as if they were initially conceived to act as healing tools with which she might be able to push away her fears of men.

Amy” has found a way to funnel her anger and fears through her art. But now, these subversively-twisted anatomically-“correct” costumes offer no comfort. By the time we enter her story what were once empowering tools for healing have turned against her as well as against others. She has taken on an inappropriate role of “protector” for her friends from the men in their lives. Her artistic expression of comfort are turning into a weapon. Her isolation within these “armors” made of felt and other materials is starting to fuel a fantastical idea which is taking over her reality. She has taken to wearing her costumes beneath her street clothing. She wanders off into private corners of nature within the Bay Area and Redwood forests where she can strip down and assert her power with a wooden sword. While on a walk with a girlfriend, the friend tries to encage Amy in a conversation about her friends’ concerns.

"You have to be very delicate..." Amy Everson FELT Jason Banker, 2015

“You have to be very delicate…”
Amy Everson
Jason Banker, 2015

But Amy has already put on her mask and just as quickly has unzipped her pants to brandish her swollen plastic penis. Her friend tries to reason with Amy to no avail. All her friend can do is force her keep her clothes before she can make a break and run away. Before she rushes off Amy shares an alarmingly sincere desire for the two of them to become “Super Heroes” committed on seeking vengeance against all the predators society calls men.

Jason Banker is very careful to limit the information we receive and how we receive it. At times Felt may not be “linear.” Other times it could be argued that what we see may only be within the confines of Amy’s damaged psyche.  This is not a flaw. This is a smart move on Banker’s part. It allows the audience to form individual conclusions and to assess the situations as they unfold. We see Amy in several scenes with single men of her own age. In one scene she is alone with an ill-advised OKCupid Match-Up from Hell. Other scenes she shares these experiences with her girlfriends. These scenes of interaction with ‘normal’ men feel so real it almost hurts to watch. Each interaction reveals aspects of male behavior about, toward and with women that we might not always pick up were it not for Banker’s camera. The truth is these scenes feel “real” and it is alarming to note the way the men attempt to manipulate, control and harass the women. What might feel “normal” is now unsettling. The men Amy meets are dismissive, aggressive, inappropriate and passively menacing. If there is even an initial “friendliness,” it quickly feels false.

Is this hope? Amy Everson / Kentucker Audley FELT Jason Banker, 2015

Is this hope?
Amy Everson / Kentucker Audley
Jason Banker, 2015

In another scene she meets her best friend’s new boyfriend. Amy is nervous and is unable to adequately hid her insecurity. Her friend’s boyfriend immediately chooses to make fun of her and insinuates that she is nothing more than a spoiled entitled bitch. A few minutes later the boyfriend is pissed as Amy’s girlfriend chides him for being mean to her best friend. His response is in the form of humor. He disagrees. He wants to know why his girlfriend is friends with such a “freak” and he teasingly wraps his hand around her neck warning her to not to hang out crazy “bitches.” Amy immediately attempts to attack him for threatening her friend. This new boyfriend chooses to meet her aggression with an even stronger level of anger and threat. To him, Amy is a “crazy bitch” and he informs her that just because she is a “girl” will not prevent him from taking her down.

Later, her girlfriends sit down with her. One attempts to “lay hands” on her with a prayer for healing. Once again they try to reason her to understand that these men are “not all that bad” — they just want sex. But the hope is that they might want more down the road. Their intervention backfires on them as Amy stays calm and points out the obvious. Her girlfriends seem to be “aware” of the cruel, debasing and threatening attitude. It appears it is easier to just “accept” this cultural misogyny. Amy’s more well-adjusted and functioning friends have and are assimilating into “Rape Culture.”

Kentucker Audley plays “Kenny.” Kenny’s arrival into Amy’s life comes with tenderness, understanding and concern. He comforts her. He cares about her. He is able to show that he is impressed with her art while also expressing sadness for whatever pain life has given her. Kenny never does this in a patronizing way. He truly appreciates her artistry and her.  When she speaks to him he actually listens. Eventually, Amy is not threatened by Kenny. She seems to be healing as she discovers that she can be herself with him and he offers no judgement. He offers no threat. Kenny seems to offer only love.

Amy Everson and Kentucker Audley FELT Jason Banker, 2015

Amy Everson and Kentucker Audley
Jason Banker, 2015

It is never clear if Amy and Kenny have consummated their relationship. Just as it seems we might be given this information regarding their romance, we discover that Kenny is not what he seems. It is unclear, but he has not been deceptive with Amy. When he attempts to open up and discuss this deception, it is too late.  Amy’s discovery of Kenny’s “deception” alters not only her perception of him. It seems to send her off-the-rails of sanity. And everything Amy shifts. Every little gesture seems to convey something different than before. We see everything about her change.

As she leads the audience into an act of horrific violence, it is not a surprise. Everything seems to be pointing to something horrible, but witnessing it is profoundly unsettling.

Playing 'Dress Up' Amy Everson / Kentucker Audley FELT Jason Banker, 2015

Playing ‘Dress Up’
Amy Everson / Kentucker Audley
Jason Banker, 2015

Jason Banker’s film leaves the audience in a state of shock that is not scary. It is far more serious. We are left adrift in Amy’s madness. The “victim” has become an even worse “victimizer.” It brings us back to a scene in which she explains to Kenny that most forms of rape “are perpetuated by people you know and trust.”

There is no way Kenny would have interpreted Amy’s comment as a warning. It might not have even been clear to her.  Amy’s decision is not rational. It is insane.

Provocative, disturbing, challenging, oddly beautiful and repulsively ugly, Felt is one of the clearest articulations of our culture’s continuing escalation of violence against women. “Rape Culture” is not some “hip” catch-phrase. It is a sad reality in which many of us play without even realizing. Jason Banker has crafted a firm depiction of cultural misogyny that never seems to wain. He has done so within the framework of Art Horror. The artistic mastery of this film can’t be denied.

Into the woods... Amy Everson FELT Jason Banker, 2015

Into the woods…
Amy Everson
Jason Banker, 2015

The implications of Felt‘s result leave us with one question:

How does a sexual assault victim heal in a world that almost seems to support the assault?

Amy Everson FELT Jason Banker, 2015

Amy Everson
Jason Banker, 2015

And for those who thought Jason Banker’s feature film directorial debut, Toad Road, was an accident or a “one hit” cinematic wonder, Felt blows any doubt of possessing an important cinematic filmmaker out the window.  This Film Artist is not limited in his scope of obtaining  understanding from more than one perspective. This is a filmmaker to watch.

matty stanfield, 7.22.2015

Loves Her Gun Geoff Marslett, 2014 Amy Bench | Cinematography

Loves Her Gun
Geoff Marslett, 2014
Amy Bench | Cinematography

As any Independent Filmmaker will tell you, the challenging days of getting a film screened at film festivals are over. For quite some time now “the challenge” of an artist getting his/her movie screened at any film festival has become almost impossible. While the access to the tools required to make a film have never been easier, it has resulted in what film festival programers feel is a “glut” of too many movies to be evaluated. And, while the idea of a film festival as a tool to screen and promote the art of film — the reality is the the film festival circuit is a business. If the film festival is unable to highlight more “accessible” or “audience friendly” mainstream work, the chances for that festival to attract not only key players in the Film Industry — but the supporters / advertisers will not be willing to fund the festival.

Kentucker Audley has become one of the key figures in truly “independent filmmaking” — his movies do not normally follow any of the conventional ideas regarding filmmaking. Yet, he is an exceptionally talented film artist who creates distinctive and essential experimental films. In order to support himself he often works as actor for others within the Independent Film World. most notably in Amy Seimetz’s Florida drenched thriller, Sun Don’t Shine, the collaborative horror movie, V/H/S  and in David Lowery’s Ain’t Them Bodies Saints.

Kate Lyn Sheil and Kentucker Audley in Amy Seimetz's Sun Don't Shine, 2012 Cinematography | Jay Keitel

Kate Lyn Sheil and Kentucker Audley in Amy Seimetz’s Sun Don’t Shine, 2012
Cinematography | Jay Keitel

Several years back he created a self-curated free site for independent filmmakers to get their work on-line.

Kentucker Audley, Independent Film Artist and Founder of NoBuge

Kentucker Audley, Independent Film Artist and Founder of NoBuge

In 2013 he spoke with Sarah Salovaara of Filmmaker Magazine about what led him to create this simple but effective site: “…It started because I began to see that film festivals weren’t programming some of the most interesting films, and that left many films without a place to screen.” It is a great site filled with varied and often challenging work. But Audley’s goal here is not to generate money or deals — but just simply to offer a place where artist’s can get their film’s out to an audience. Often, these films will only be shown for a day or two and this can also serve as another way for a filmmaker to independently sell their movies via Vimeo.

But when a filmmaker and a cast and crew fully invest in a clear cinematic vision, it is heartbreaking when innovative and unique films slip between the cracks. At the moment, I am particularly frustrated that Brandon Colvin’s masterfully beautiful Sabbatical has had such a struggle to “fit in” with the forced ideologies of the US festival circuit.

Robert Longstreet in Brandon Colvin's Sabbatical, 2014 Cinematography | Aaron Granat

Robert Longstreet in Brandon Colvin’s Sabbatical, 2014
Cinematography | Aaron Granat

An additional hurdle for Sabbatical is that while it is very much an American film — it applies a great deal of cinematic technique that is more often found in European Film. Despite gaining some very high praise from some key people and securing spots in several solid festivals — Brandon Colvin’s amazing film has yet to find a truly satisfying way to a wider audience. This audience exists despite the Big Studio System and the ever-growing “closed” doors at many of the bigger festivals. Yet, Colvin is dedicated to the fight. Via his website and Vimeo, his film is being seen and admired.

It is essential the Independent Filmmaker secure the praise of film critics. A review from The New Yorker, The New York Times, The Village Voice or The Hollywood Reporter can end up serving as an incredibly tool to entice audiences to pursue the movies. Sadly, it can also inflect harm.

As we enter into the second decade of the 21st Century, Film Critics are regaining power...

As we enter into the second decade of the 21st Century, Film Critics are regaining power…

While the debate over the current state of Film Criticism is valid, the over-simplified Consensus Criticism would appear to be the model with which filmmakers are stuck. For better or worse, RottenTomatoes isn’t going anywhere. Nor is the largely unfair rating system of IMDB going to expire. And, the power of the Film Critic seems to be amping up with the assistance of of these (and other) databases.

I am a true cinephile. I love to write about movies, but I’m painfully aware of my limitations as a writer. I do my best when it comes to communication and utilizing my voice and “people skills” to negotiate my opinions to approach legit impact.

Geoff Marslett made both an entertaining and potent movie. And, not only was he able to secure a screening debut at 2013’s SXSW Festival. He was awarded the highly valued Louis Black Lone Star Award for Loves Her Gun. His film was officially released in 2013.

Trieste Kelly Dunn in Geoff Marslett's Loves Her Gun, 2014 Cinematography | Amy Bench

Trieste Kelly Dunn in Geoff Marslett’s Loves Her Gun, 2014 Cinematography | Amy Bench

It scored very well with critics and carries a 71% with critics on RT. However, a very clear sign that it failed to find it’s audience is reflected in an audience rating of 45%. Art is subjective, but it baffles me that this unique, creative, smart, bold and potent film carries such an inconsistent rating of critics to audience. When you look closer, you will discover that only 66 individuals have taken the time to log on and assign a rating. The human being is a complex creature and prone to put more effort into “bitching” than “praising” — and the provocative title most likely led a number of rabid NRA members to take to RT faster than I care to imagine. The low rating is suspect.

I try very hard to fight against the idea that a critic will dedicate my opinions to me, but there are critics and publications that seem more aligned with my tastes. The fact that I sometimes allow someone like AO Scott or Richard Brody to sway me away from going to the cinema is a reality. Especially when money is tight or I’m “on the fence” about a particular film. This used to be the most common power of the Film Critic. But in the last 5 years, more and more people simply jump on the computer to RT to see only the overall rating. …which is quite often not in line with what some of the critics actually write.

I made a fatal flaw regarding Loves Her Gun. Just by accident I saw a review for it online via some link to The Hollywood Reporter. The critic did not “pan” the movie but he basically dismissed it because he felt that the narrative structure failed to capture the emotional tension of the story. Well, I know enough about jaded film critics to know that many no longer really want to think too much when they have a deadline to make.

The Karate Kids performing in Loves Her Gun. Geoff Marslett, 2014 Cinematography | Amy Bench

The Karate Kids performing in Loves Her Gun. Geoff Marslett, 2014
Cinematography | Amy Bench

But what made me decide to wait until I could rent a download or DVD later was the fact that he essentially compared Geoff Marslett’s style to Richard Linklater’s iconic 1991 film, Slacker.  Like many film lovers my age (I was 24 when I first say Slacker) and decided to steer clear of this movie. It was only a day ago that I read a few more things about Loves Her Gun via Twitter links — one directly from the director and co-writer that provided a link to a very unfair review which they approached with humor .

Trieste Kelly Dunn learns to shoot her gun with the help of Melissa Bisagni who earnestly wants to help . Loves Her Gun, 2014. Cinematography | Amy Bench

Trieste Kelly Dunn learns to shoot her gun with the help of Melissa Bisagni who earnestly wants to help . Loves Her Gun, 2014. Cinematography | Amy Bench

I am unable to locate the name of The Hollywood Reporter critic who gave this film such a flippant dismissal, but she/he was entirely “off-target” in opinion regarding the narrative of the film and the lame comparison to Slacker. In fact, the comparison is not able to hold up under a subjective light. To compare Loves Her Gun in any way beyond the fact that both take place in Austin is non-sensical. The two films are even further apart than a  25 year span. Linklater’s meandering narrative approach was to make his audience not only laugh, but to actually make a statement about our generation (those 20 to 30 in 1990) and a generations’ lack of connection, purpose and opportunities that most of us expected.

Geoff Marslett and his co-writer/producer, Lauren Modery, are aiming much higher and within an altogether different level of societal / cultural concern found in Slacker. Loves Her Gun is serious and the “loose” use of narration / construction is deceptive. This choice of “improvisational” style is one of the primary ways the film is so successful.

A battered and traumatized Trieste Kelly Dunn trying to find away to defeat her fear and anxiety. Loves Her Gun, Geoff Marslett, 2014. Cinematography | Amy Bench

A battered and traumatized Trieste Kelly Dunn trying to find away to defeat her fear and anxiety. Loves Her Gun, Geoff Marslett, 2014. Cinematography | Amy Bench

I do not want to provide any spoilers for anyone who has yet to see Loves Her Gun. The movie follows a young woman living in one the post-industrial parts of Brooklyn who after being brutally assaulted decides to take up an offer from members of an band to join them “on the road” as they tour their way back to their homes in Austin. It isn’t long that the trauma and PTSD level impact of this attack begins to creep into her psyche. What at first seems like an inappropriate decision to uproot her life in Brooklyn to travel across the country with a 3 person rock band she has only recently met through a mutual acquaintance, begins to almost feel like a much needed “temporary break” from her urban surroundings. She finds comfort both in the trip but with her new friends. Upon arrival in Austin, she decides to extent her visit indefinitely by staying with two members of The Karate Kids and ultimately to a housesitting opportunity. Marslett’s approach to his leading character’s experiences in Austin is experimental. The audience is lulled into an interesting sort of fly-on-the wall experience of not only Allie’s “adventure” into the art scene and the general “vibe” in the often magical world of Austin — but glimpses into the lives of her new friends. We hang out in bars, drift down the Guadalupe River, see the possibility of love and her pursuit of employment assisting an independent landscaper.

After a shower, Trieste Kelly Dunn's "Allie" discovers the extent of physical damage from a horrifying attack/mugging in Loves Her Gun, Geoff Marslett, 2014. Cinematography | Amy Bench

After a shower, Trieste Kelly Dunn’s “Allie” discovers the extent of physical damage from a horrifying attack/mugging in Loves Her Gun, Geoff Marslett, 2014. Cinematography | Amy Bench

The entire cast delivers realistic performances, but it Trieste Kelly Dunn who shines in the leading role. Her performance seems to be in perfect beat with Geoff Marslett and Lauren Moderys’  script and Marslett’s easy-going pace. Allie’s attack is presented in the way we usually experience assault — Allie’s heightened and disoriented reaction during and after the attack is all too painfully realistic. Aside from her attacker’s creepy masks, they brutally beat her and hang dangle their “power” with blunt threat of rape.

Geoff Marslett's Loves Her Gun, 2014. Cinematography | Amy Bench

Geoff Marslett’s Loves Her Gun, 2014. Cinematography | Amy Bench

This threat is delivered in the horrifying mode of human cruelty as if to imply that she is escaping the ultimate violent invasion not because “they” are “wrong” but because “they” are simply not in the “mood” to deliver what “she deserves” — To those of you lucky enough to have never been attacked or raped, it may seem illogical — but our tragic Rape Culture is twisted to put the victim in the role of “guilty victim”  The odd mix of  fear, rage, repulsion, guilt, confusion and embarrassment is not only a natural response, it is also most often greeted with the same mixture of confusion by police, courts and often even our friends. When Allie’s roommate calls the police to report the incident, Allie is firmly placed in the position of having to defend herself in the most damaging of ways. The police officer clearly doesn’t care.

Trieste Kelly Dunn’s performance is painfully real. As she emerges from a shower and truly explores the gruesome impact of the attack on her body, the audience is fully aware of her pain, shock and misplaced embarrassment. The police officer’s judgmental and passively aggressive approach with Allie coupled with her reaction to he bodily damage she has suffered is presented / played so well that I find it tragic that someone could see this film and fail to be emotionally enraged at what has has become a culture so saturated in Rape Culture that almost all of it complies to its rules.

Trieste Kelly Dunn in Geoff Marslett's Loves Her Gun, 2014. Cinematography | Amy Bench

Trieste Kelly Dunn in Geoff Marslett’s Loves Her Gun, 2014. Cinematography | Amy Bench

As I began to look for screen shots from this crucial moment in Geoff Marslett’s film and Trieste Kelly Dunn’s exceptional performance I was truly repulsed by the number of websites that have taken images from this devastating scene of female crisis to serve as “soft porn” photographs presented as “jerk-off” material.  This is a tragic side-effect of Rape Culture in which women have no choice but to navigate.

From The Art of Dismantiling. Fight Rape Culture!

From The Art of Dismantiling. Fight Rape Culture!

In this case a film deeply committed to exploring a crucial topic and an actor brave enough to play it end up being exploited. Enough of my need to explore my own rage at what women and children face daily. I did find a few sites that are devoted to fighting against the relentless attack on women and children. I’m not saying that men are not impacted by our culture, but it is far more of a “side-effect” than what women and children face.

The film presents itself as a very loosely paced character study that is often entertaining and always feels “documentary-like” — but this is Marslett’s device to ease the audience. In what reveals itself to be a surprisingly cleaver way, the film begins to take a gradual tighter focus until Loves Her Gun morphs into a deeply potent examination of Gun Culture and the short-sighted way it approaches an individual’s problem. It would seem obvious that the idea of wanting to give Allie a gun to address her ever-growing paranoia and fear as inappropriate and shallow, it is also our cultural’s “knee jerk” reaction that happens all too often — especially in parts of the US where gun ownership is so easily attained.

Trieste Kelly Dunn is armed and ready to defend in Loves Her Gun. Geoff Marslett, 2014. Cinematography | Amy Bench

Trieste Kelly Dunn is armed and ready to defend in Loves Her Gun. Geoff Marslett, 2014. Cinematography | Amy Bench

Aside from Loves Her Gun being a great movie, it also displays a surprising level of power in its intentional refusal to pander to any side of the on-going debate regarding guns. Instead, it offers a clear and realistic depiction of a challenging situation we face. I don’t think it is an overstatement that we see tragic examples regarding the misuse of guns. And, I don’t think it is because I grew up within the context of Texas Gun Culture. My father owned a gun shop. As much as I believe that gun ownership should be more tightly restricted, I am forced to begrudgingly agree with the logic of “Guns don’t kill people, people kill people”  However, it is high time for Gun Culture to re-examine who those “people” are whom use guns as the tool of human cruelty vs. a responsible tool against possible threat.

Trieste Kelly Dunn starting a lone walk home that is tragically realistic in Geoff Marslett's Loves Her Gun. Cinematography | Amy Bench

Trieste Kelly Dunn starting a lone walk home that is tragically realistic in Geoff Marslett’s Loves Her Gun. Cinematography | Amy Bench

But, that is not the point of Geoff Marslett’s film. I think the point of Loves Her Gun is to create thought and discussion around real problems facing our society. It does this by slowly pulling the audience into a situations where no one holds your hand. And despite success at festivals and with most critics on an individual basis, Loves Her Gun is another vital film that has not fully connected to the audience it deserves. It is available on AmazonPrime and iTunes for both rent and purchase. I highly recommend it. As for me, I bought my download.

I intend to continue to carefully use my odd connections to the world of Film Art to promote both SABBATICAL and Loves Her Gun and Audley’s NoBudge website.

If an employed film critic who is around my age should find her/his way to this blog post: I urge you to not dismiss the incredible level of talent and skill that manages to require your eyes. I’m noticing that many of my friends and contacts who are over 40 tend to roll eyes and poison pens not because it is valid, but because they are often too lazy or over-whelmed by the mediocrity of The Hollywood Machine to really think about what is being presented. This newer generation of artists (largely between 2o to mid 30’s) is far more engaged and aware than our generation was at that age. Certainly, this statement is not to be taken as a blanket comment for all artists over 40, but it does appear to me to carry validity. Try to remember when you sat in the cinema and just allowed the film art to come over you like a wave. …You will be surprised if you put forward a bit more energy and not resort to lazy criticism when your views are already being mis-evaluated in the Age of Consensus Film Criticism.