Info

Art Opinions

Posts tagged Andrew Bujalski

Choose another tag?

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As there are less than three months of the year left, I find myself thinking of the films that had the biggest impact on me. In other words, my favorite films of the year. My list is not finalized and could easily change as we move into January. There are more than a few films I’ve not yet seen that will be coming out within the next three months are so. This views are my own and should not be attached to any other person or entity but me. 

Uh, oh. This might present more fright than you expect... Mark Duplass CREEP Patrick Brice, 2015

Uh, oh. This might present more fright than you expect…
Mark Duplass
CREEP
Patrick Brice, 2015

There are a few things that come to my mind as I look over my list of favorite films:

  1. I’ve never noted so many “horror” films to make my list.
  2. The salary gap between female and male actors has never been so bad, but there have been a number of truly exceptional work by female actors. And contrary to the general tone of what I’ve been reading/hearing, there are a number of amazing performances by women.
  3. The voice of women is most notably strong in my current list. This is wicked cool! 
  4. This will read as “crass” but I do not give a shit about Oscars, BAFTAs and the slew of other awards. These are political in nature and most usually always suspect in terms of artistic evaluation.

    According to The Oscars, this is THE BEST Film Director of 2012. I content this as one of many reasons to disregard The Oscars.

    According to The Oscars, this is THE BEST Film Director of 2012. I content this as one of many reasons to disregard The Oscars.

  5. In my view, there is no such thing as a “best” when it comes to collaborative art. Actually, art in general is subjective. What resonates for me might not register for the person next to me. It is rare that I see one movie or one performance that I feel deserves title of “best.” And usually, when I grow to feel that someone did present “the best” it is a number of years after the fact.
  6. These are just my personal favorite films thus far. No reason to get upset with me. 
  7. You might not agree, but if you are like me — when I read the list of another individual’s favorites it often gives me pause to revisit my opinions regarding certain films. It also sends me out to view films I might have somehow missed.
  8. George Miller’s Mad Max: Fury Road is not among my favorite films. Stop! Don’t be flaming me! I didn’t say I hated
    Cinematic Masterpiece, Relentless Visual & Audio Assault, Creative but not among my favorite films of the year. Mad Max: Fury Road George Miller, 2015

    Cinematic Masterpiece, Relentless Visual & Audio Assault, Creative but not among my favorite films of the year.
    Mad Max: Fury Road
    George Miller, 2015

    it! Leave me alone. Granted it was an impressive visual and audio assault, but I didn’t see it go anywhere particularly “new.” For me this exorcise in unrelenting violence was of merit, but I didn’t think it particularly “great.” Far from being “bad” but equally far from being “great.” The movie was essentially a smartly executed 90’s metal demolition derby race from one point to another. …Twice. I honestly expected more. Just my opinion.

  9. F. Gary Gray’s Straight Outta Compton had more of an impact for me, but had too many flaws for me to consider it a “great” movie. I thought it was good. But I really wanted to love this movie. I thought it was interesting in the way it opted to depict the women in the N.W.A. history without comment. Also interesting to me was what often felt like a celebration of, in my 1990’s ingrained brain, sees as a sort of corporate appropriation or selling out. In many ways this film is as much about business than Hip-Hop culture or art form. And an interesting culture and art form in which women are relegated to important roles as “holes” of one sort or another rather than fully fleshed out female characters.  I am not sure “interesting” is a good thing, but I’m certain it is not altogether “bad.” Straight Outta Compton has as much to not say as it does. This is an entertaining, important and good film.But it did not make my list.
  10. The Safdie Brothers film, Heaven Knows What, refuses to leave my mind.
    There can be no denial of this film's import and power. However, this film verges toward a an uncomfortable line... Heaven Knows What Benny Safdie & Josh Safdie, 2015

    There can be no denial of this film’s import and power. However, this film verges toward a an uncomfortable line…
    Heaven Knows What
    Benny Safdie & Josh Safdie, 2015

    This effective and disturbingly passive view of young homeless junkies kicked me in the gut. I’m still unsure how I feel about this dark film. It is an ethical issue for me. But I’d be a hypocrite if I didn’t include it on my my list. Arielle Holmes’s story and The Safdie Bros. filming of it is unforgettable to me. But I squirm as I list it. The intention of this film is worrying to me, but the artistic value and what it ultimately presents are far too powerful for me to dismiss. Also, I’m very tender-hearted when it comes to issues relating to mental illness and drug addiction. My feeling about this film may say more about me than the art of the film.

  11. I have seen legal and invited screenings of rough cuts for Rick Alverson’s Entertaiment, Danny Boyle’s Steve Jobs, Justin Kurzel’s Macbeth and Todd Haynes’ Carol. As far as I know only Carol has not been re-edited. Boyle’s film has apparently been completely re-cut and faces more tweaking as it’s official release edges forward. No amount of editing will be able to steal the power that Fassbender brings to the film. He is reason enough to see this film. Trust me.
    Tiny rainbow circulates as more editing goes on... Michael Fassbender IS Steve Jobs Danny Boyle, 2015

    Tiny rainbow circulates as more editing goes on…
    Michael Fassbender IS
    Steve Jobs
    Danny Boyle, 2015

    Maybe the new edit will ease some of the worrying issues with Kate Winslet’s accent — or perhaps explain it if it was intentional. It is my understanding that Macbeth has been shortened (and hopefully some of the far too mumbled/quiet dialogue has been somehow enhanced.) There was a constant struggle to understand what Fassbender and Cotillard were saying.

    Wait. What did Lady Macbeth just say? What accent is that? What did Macbeth say? Speak up! But it and they look pretty! Marion Cotillard Macbeth Justin Kurzel, 2015 Cinematography | Adam Arkapaw

    Wait. What did Lady Macbeth just say? What accent is that? What did Macbeth say? Speak up! But it and they look pretty!
    Marion Cotillard
    Macbeth
    Justin Kurzel, 2015
    Cinematography | Adam Arkapaw

    I LOVED Alverson’s film, Entertainment, but as it is still in “post-production” I’m not sure it will be the same version that I saw. As for Carol, I thought it was a great art piece. Cate Blanchett was almost flawless in her performance, but the whole of the film felt like a Sirkian-drenched non-ironic soap opera. The movie is beautifully shot but trapped within a box of it’s own design. It feels pretty but false. It was a sort of lifeless film to me. I’ve a feeling I’m going to be alone in my opinion. I do plan on seeing it again when it is officially released.

So Here Are My Favorite Films of 2015 Thus Far In No Particular Order:

  1. The Wolf Pack | Crystal Moselle’s documentary is as much an ode to human survival as it is to the magical power of movies.

    Learning and understanding the world from movies... The Wolfpack Crystal Moselle, 2015

    Learning and understanding the world from movies…
    The Wolfpack
    Crystal Moselle, 2015

  2. Love & Mercy | Bill Pohlad’s bio film about Brian Wilson is as realistic as it is surreal in the exploration of a deeply troubled but incredible visionary mind. Deconstructed scene-by-scene, Pohlad’s film is an amazing study of Art and Artist.

    A masterful and surprising film that seemed to come from nowhere completely by surprise. Pure Cinematic Magic. Bill Pohlad, 2015

    A masterful and surprising film that seemed to come from nowhere completely by surprise. Pure Cinematic Magic.
    Bill Pohlad, 2015

  3. Turbo Kid | I didn’t expect to even like this movie, but I feel head over heels in love with it quicker than the opening credits could finish. Filled with early 80’s synth music and a gleeful gore-filled energy. This is a smart film. 
    Welcome back to artistic movie posters. Grab your BMX and be a hero! TURBO KID François Simard, Anouk & Yoann-Karl Whissell, 2015

    Welcome back to artistic movie posters. Grab your BMX and be a hero!
    TURBO KID
    François Simard, Anouk & Yoann-Karl Whissell, 2015

    Anouk Yoann-Karl Whissell and François Simard have created a mini-masterpiece of retro Sci-Fi BMX magic.

  4. Queen of Earth | Alex Ross Perry’s experimental and often surrealistic study of an emotional break has stirred up so many heartfelt opinions it’s hardly worth debating it’s impact.
    You are the reason there is no escape from indecency and gossip. And, lies." Queen of Earth Alex Ross Perry, 2015

    You are the reason there is no escape from indecency and gossip. And, lies.”
    Queen of Earth
    Alex Ross Perry, 2015

    Any work that causes so many conflicted, passionate and opposing reactions is obviously touching a nerve. I love absolutely every aspect of this movie.

  5. Kumiko, the Treasure Hunter |  David & Nathan Zellners’ latest film is their best and interestingly most experimental.
    "Solitude? It's just fancy loneliness." Rinko Kikuchi Kumiko The Treasure Hunter The Zellner Bros, 2015

    “Solitude? It’s just fancy loneliness.”
    Rinko Kikuchi
    Kumiko The Treasure Hunter
    The Zellner Bros, 2015

    Taking the concept of “meta film” to a whole new level. This is a fascinating, unique, original film that plays with truth and horror in much the same way that The Coen Bros. did in 1996 with the film that inspired the events that inspired the movie that inspires. Amazing film from all perspective.

  6. It Follows | David Robert Mitchell’s slick horror film plays out like a horrible nightmare.
    "You don't believe me do you?" IT FOLLOWS David Robert Mitchell, 2015

    “You don’t believe me do you?”
    IT FOLLOWS
    David Robert Mitchell, 2015

    The movie flows the audience into a dark, scary and often opposingly beautiful dream. As disturbing as the film is, I always hate to see it end. Like Ana Lily Amirpour’s horror film, Mitchell’s elevates beyond the horror genre in which it resides. It is all the more amazing when you realize how low the budget for this film was. Also worth noting is the way in which David Robert Mitchell plays around with eras. It is impossible to know when this dark tale is taking place — and this is intentional.  Since this film’s release, there has been a critical backlash that I find problematic. This is an extraordinary bit of filmmaking. Ana Lily Amirpour’s A Girl Walks Home Alone At Night almost made my list. I quite liked it.

  7. Creep | Patrick Brice’s film took me by complete surprise — in a very good way.
    "I got a little surprise for you in there. See ya soon, Buddy!" Creep Patrick Brice, 2015

    “I got a little surprise for you in there. See ya soon, Buddy!”
    Creep
    Patrick Brice, 2015

    The movie is truly horrifying. You might find yourself laughing, but later as you rethink what Brice and Mark Duplass co-wrote, the strange realism that exists here is unsettling.

  8. FELT | Jason Banker’s film is clearly based on the artwork and traumatic experience of Bay Area artist, Amy Everson. This sleek, twisted and disturbing examination of rape culture from the perspective of a recovering female victim is a polarizing movie. Some hate it, some love it, some consider it flawed beyond redemption and others are simply confused by what Banker presents. I loved it.
    "My life is a fucking nightmare." FELT Jason Banker, 2015

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

    True, Amy Everson is not a professional actor and there are limitations as a result. However, she comes through when it matters. And this is a topic that should matter to all of us. It is certainly a risky proposition to make a “horror” film out of a tragedy that so many women face. This movie is nothing if not bold. In my view, the film “discusses” Rape Culture in an acutely articulate manner. The film manages to creatively remind us that we are all playing into this culture whether we realize it or not. The main character of FELT is clearly wrong, but much of what she attempts to communicate is valid. Kentucker Audley is highly effective here as a sort of wolf in sheep’s clothing. I stand by this movie.

  9. Ex-Machina | Alex Garland is not re-inventing any wheels, but he polishes them brilliantly. This is a creative, innovative and brilliantly executed Sci-Fi horror film featuring two great turns by Oscar Isaac and Domhnall Gleeson.
  10. Reality | Quentin Dupieux’s latest film remains tied to Surrealism and Absurdism.
    The ever-growing farce of culture... Reality Quentin Dupieux, 2015

    The ever-growing farce of culture…
    Reality
    Quentin Dupieux, 2015

    Here he is exploring the barren wasteland that is quickly taking the place of culture.

  11. The Falling |  Carol Morley’s British film is less horror than a sort of lush cinematic poetry fully supported by Maisie Williams who gives an amazing performance. This is Peter Weir territory made with a stronger Feminist viewpoint. A filmmaker to watch. This film seems to have slipped beneath the radar for many. It is more than worth a look.
  12. 6 Years | Hannah Fidell’s masterful film has been tragically missed by a majority of film critics and audiences. I suspect this has something to do with the promotion of the film. This is tragic because the promotion was actually rather brilliant in a unique way.
    "Look me in the eye and tell me." 6 Years Hannah Fidell, 2015

    “Look me in the eye and tell me.”
    6 Years
    Hannah Fidell, 2015

    Fidell drenches her film in a sort of idealistic dewy haze intended to capture that amazing powerful feeling of true first love. I suspect that many expected this film to actually be a lush and romantic “chick flick.” This movie is as far from that universe as a film can get. The question Fidell’s film poses is not “Will they be able to make it work?” The question here is “Should they even try to make it work?” As in “real life” – the answer is not simplistic or easy to face. 6 Years explores a relationship from a perspective that few filmmakers have been willing to take. This film isn’t aiming to provoke. It aims to be honest. Taissa Farmiga and Ben Rosenfield both provide brutally realistic performances. The all too serious topic of domestic abuse has never been captured in this way. It is potent and heart breaking. 6 Years is a Must See film. Do not miss it. 

*** SABBATICAL | Brandon Colvin’s masterful film is actually from 2013, but it has yet to secure a distribution deal. It is however available for rental/purchase here:

http://sabbatical-mossgarden.com

Robert Longstreet and Rhoda Griffis stand out among several potent performances.

A challenging film virtually flawless in execution remains without a distributor. Sabbatical Brandon Colvin, 2013 Poster Design | Jenni Dickens

A challenging film virtually flawless in execution remains without a distributor.
Sabbatical
Brandon Colvin, 2013
Poster Design | Jenni Dickens

Aaron Granat’s cinematography and Tony Oswald’s editing like all of the actors involved merge perfectly into Colvin’s Formalist approach which reminds of Robert Bresson, remains firmly unique unto itself. Brilliant and rewarding. I continue to “pimp” this film out to everyone I know in the World of Film Art. I have no choice but to mention it again here.

As for the performances that most resonated for me:

Paul Dano as Young Brian Wilson is incredible.

Paul Dano is the Young Brian Wilson Love & Mercy Bill Pohlad, 2015 Cinematography | Robert D. Yeoman

Paul Dano is the Young Brian Wilson
Love & Mercy
Bill Pohlad, 2015
Cinematography | Robert D. Yeoman

Michael Fassbender’s doesn’t so much play Steve Jobs as he literally seems to become him. Jason Segel almost does the same in his performance as David Foster Wallace in End of the Tour. Ben Rosenberg is brilliant as the torn young man who must make a tough choice in 6 Years.

Everything else aside, the line between "acting" and "reality" feels blurred by the strength of Michael Fassbender. Steve Jobs Danny Boyle, 2015 Cinematography | Alwin H. Küchler

Everything else aside, the line between “acting” and “reality” feels blurred by the strength of Michael Fassbender.
Steve Jobs
Danny Boyle, 2015
Cinematography | Alwin H. Küchler

James Hebert probably made the most startling film performance in Two Step.

Nothing can quite prepare you for where James Hebert takes his role... Two-Step Alex R. Johnson, 2015

Nothing can quite prepare you for where James Hebert takes his role…
Two-Step
Alex R. Johnson, 2015

And, I’m sorry, but Mark Duplass scared the shit out of me in Creep. In addition, Josh Lucas blew me away in John Magary’s odd experimental character study of two brothers. If you’ve not seen The Mend, you should add it to your list to see.

Josh Lucas, e-cigs, hair balls and rage.  The Mend John Magary, 2015

Josh Lucas, e-cigs, hair balls and rage.
The Mend
John Magary, 2015

Lily Tomlin was so good in Grandma, I didn’t want the movie to end. Chiara D’Anna and Sidse Babett Knudsen deliver clever and complex performances in Peter Stickland’s The Duke of Burgundy that are as intelligent as the are erotic and disturbing.

Searing into your brain. Sheila Vand as your vampire next door. A Girl Walks Home Alone at Night Ana Lily Amirpour, 2015 Cinematography | Lyle Vincent

Searing into your brain.
Sheila Vand as your vampire next door.
A Girl Walks Home Alone at Night
Ana Lily Amirpour, 2015
Cinematography | Lyle Vincent

Sheila Vand is absolutely unforgettable as that girl walking home alone at night. Maika Monroe blew me away as “Jay” in It Follows. She goes well beyond the expectation of the genre. Maisie Williams was equally powerful in her turn in The Falling. Taissa Farmiga proved to be more than up to the challenge of portraying the darker side of insecurity in Hannah Fidell’s 6 Years.

Taissa Farmiga loves Ben Rosenfield into a tight corner. 6 Years Hannah Fidell, 2015 Cinematography | Andrew Droz Palermo

Taissa Farmiga loves Ben Rosenfield into a tight corner.
6 Years
Hannah Fidell, 2015
Cinematography | Andrew Droz Palermo

Cobie Smulders’ work grabbed me twice this year: Andrew Bujalski’s charming Results and Kris Swanberg’s quietly potent, Unexpected. Rinko Kikuchi’s work in The Zellner Brothers’ Kumiko The Treasure Hunter is miraculous performance. Greta Gerwig delivered her charismatic best in Mistress America.

Lily Tomlin owns the show and the road. Grandma Paul Weitz, 2015

Lily Tomlin owns the show and the road.
Grandma
Paul Weitz, 2015

And, of course, there is Cate Blanchett. She is great as Carol, but Todd Haynes really poses some unexpected challenges for his leading ladies — this is acting in a sort of vacuum. While there are still several key films I’ve yet to see, this is one of those years when one actress stands out in my mind as “the best” — I would be shocked if any artist male or female delivers a more strange, perverse, disturbing and unforgettable turn than Elisabeth Moss in Queen of Earth.

Elisabeth Moss Queen of Earth Alex Ross Perry | 2015 Cinematography | Sean Price Williams

Elisabeth Moss
Queen of Earth
Alex Ross Perry | 2015
Cinematography | Sean Price Williams

Even if one dislikes the film, it would be difficult to dismiss this performance.And Katherine Waterston’s performances in both Queen Of Earth and Steve Jobs are quite worthy. Curiously, I’m still confused about Marion Cotillard’s performance in the rough cut I’ve seen of Macbeth. But as that film has been re-edited I need to wait to actually form a solid opinion.  Any way I look at it, 2015 belonged to female actors. This has not been so true in a while.

Well, this is my list for now. To be honest, I’m not all that excited about the final months of 2015 film releases.

The Lobster Yorgos Lanthimos | 2015

The Lobster
Yorgos Lanthimos | 2015

There are a few films I’m quite eager to see: Ben Wheatley’s High Rise offers a great deal of interest for me. Can’t wait. Yorgos Lanthimos’ The Lobster is also a movie of interest, even if it looks a bit too obvious and comedic than what I had anticipated. And Sarah Gavron’s Suffragette might offer more than I’m expecting. She has gathered a mighty force of acting talent!  It is one I want to see.

Joseph Gordon-Levitt as Philippe Petit The Walk Robert Zemeckis, 2015 Cinematography | Dariusz Wolski

Joseph Gordon-Levitt as Philippe Petit
The Walk
Robert Zemeckis, 2015
Cinematography | Dariusz Wolski

I’m also curious to see Joseph Gordon-Levitt, a very under-rated actor, in both Snowden and The Walk. However, I’ve a great deal of worry regarding the quality of these two films. The mix of Oliver Stone with the topic and issues related to Edward Snowden looks good on paper, but cocaine and paranoia seem to have eroded Stone’s work since 1994. And I don’t think I’ve enjoyed a Robert Zemeckis film since 1992. …And, even then, Death Becomes Her was not altogether good.  I’ve also been waiting all year to see Alison Bagnall’s Funny Bunny.

Funny Bunny Alison Bagnall, 2015 Cinematography | Ashley Connor

Funny Bunny
Alison Bagnall, 2015
Cinematography | Ashley Connor

Of all these films, this is the one I’m most excited to see.

Of course I am writing about Film Art. It is often unpredictable and surprising. As it turns out, Jean-Luc Godard was not correct. Cinema is not dead. Of course we knew that as his brilliantly perverse and wrong film, Weekend, was not at all a signal of death. It was actually an alarming reminder of the power of cinema.

the death of cinema? The Weekend Jean-Luc Godard | 1967

the death of cinema?
The Weekend
Jean-Luc Godard | 1967

Matty Stanfield, 9.8.15

Ideas around “origin” and “truth” have always proved to be challenging throughout the history of history. The truth is often difficult if not impossible to be certain within the context of the manner in which human beings communicate. And, as we move further into the beginning of the 21st century the reliance on the Internet, the already unsteady concept of truthful communication is growing ever more obtuse.

blogthumb_005_mumblecore-1024x576

The reason I am starting this post with this bland observation is that I have never been sure if I really understand the truth and origin of a term that I have found to be not merely problematic, but an all too casual sort of dismissive attitude to some very skilled artists.

I love film. And, from about the age of 10 I became almost obsessed with seeing as many movies as I could. I turned 10 in 1976. That was just before mainstream Hollywood would discover the idea of “blockbuster” and it would not be too long before the creation of the cineplex approach to movies.

jaws_xlg

I was not the 10 year old who latched on to the “mainstream” the way so many of my friends did. Though I certainly enjoyed JAWS and STAR WARS — movies like ANNIE HALL, NASHVILLE and 3 WOMEN were far more interesting to me. Depending upon your point of view, I was born to parents who often seemed to be challenged by “appropriate boundaries” —  this was especially true of my father. He took me to everything he wanted to see. I think I was the only 10 year old I knew who had seen NASHVILLE and CARRIE.

three_women_ver2_xlg

And, if you’re doing the math, I was 10 when those films played in my hometown. There was something far more intensely interesting to me about these movies that only played little South East Texas town than the ones that were on my friends lunch boxes.

I never had any interest in pursuing film as profession. But I am still mystified at the magic that a film artist can create. I was at the perfect age for the resurgence of what we started calling “Independent Cinema” — Out of college and the restrictions of the Bible Belt —  I was able to see game changing work as it was happening.

1986-shes-gotta-have-it-poster1

clerks

sex_lies_and_videotape_ver1

Original Cinema Quad Poster - Movie Film Posters

Original Cinema Quad Poster – Movie Film Posters

Close to 30 years later many of those late ’80’s / early ’90’s filmmakers are still creating interesting work.

468250b

bernie

dark_horse

But sadly, most of these once innovative artists have either sold out, lost energy or most probably — have not been able to remain fully connected to the culture in a way that allows them to explore ideas of value.

HAYWIRE QUAD@50%.indd

kaboom_970x390

It is quite interesting that it was during the 2005 South by Southwest Film Festival that Eric Masunaga, a sound editor, unknowingly gave a label to a group of young film artists that was very quickly and permanently plugged into our culture. Steven Soderbergh and Gregg Araki are the first two that pop into my mind. These two filmmakers started their careers exploring corners of the human experience in new and provocative ways. I no longer trust them enough to pay to see what they are now making.

solaris-2002

So after this rambled mess of an explanation, I first remember reading the term “mumble core” was in indieWIRE magazine. During the 2005 South by Southwest Film Festival a writer from that magazine asked a sound editor if he/she (?) could explain the connection shared by several important films that premiered there. This film artist probably had no idea that when she/he said “mumblecore” that it would end up taking on such significance. But it has.

I continue to be puzzled by the way critics and audiences use that term. This new group of filmmakers are every bit as relevant as the late ’50’s / 60’s La Nouvelle Vague.

breathless

…And, strikingly similar when one considers the restrictions of shoe string budgets and an intense need to turn attention more inward.

400blowsposter02

Le beau serge 1959 rŽal : Claude Chabrol Collection Christophel

Le beau serge
1959
rŽal : Claude Chabrol
Collection Christophel

This was a generation as it was emerging from the impacts of World War and entering the impact of looming cultural fears of the nuclear age and what would soon be obscured by the tragedies of The Algerian and Vietnam conflicts. Yet the label of “La Nouvelle Vague” never seemed to be dismissive.

But as hard as I try to never use “mumble core” as a label for these filmmakers who have found truly unique and innovative ways to not only make their art, but to continue to find equally unique and innovative ways for it to be seen.  Filmmakers such as Andrew Bujalski, Lynn Shelton, Mark Duplass, Jay Duplass, Aaron Katz, Joe Swanberg, Greta Gerwig, Kentucky Audley, Amy Seimetz, Shane Carruth, Rick Alverson, Josephine Decker, Onur Tukel, Dustin Guy Defa, Alex Ross Perry, Lawrence Michael Levine, Kevin Barker and Sophia Takal among others are all lumped together under the label “mumble core” — And, yet each of the above and others bring distinctive viewpoints, ideas, style and often unexpected potency.

the-puffy-chair-review-poster

hannah_takes_the_stairs_xlg

SDS+Pic2

upstream_color

Both Amy Seimetz and Shane Carruth find powerful and unexpected ways to pull their audiences into the horror and paranoia of people in crisis. SUN DON’T SHINE and UPSTREAM COLOR could not be more different from each other. One is like being absorbed into a cinematic puzzle of survival that is as beautiful as it is horrific. The other, SUN, is a whole new take on two lovers on the lam but a bold, gritty and unnerving glimpse into an almost alien-like take on the Florida Everglades.

While I do understand what “navel gazing” means, I find that it almost offensive that the idea of artistically exploring “the self” and the complexity of humanity has become a point of criticism.

9P2gwXPhUIhIGkeOXQKExnbijhM

nights_and_weekends_xlg

Both of the above films are intensely intimate portraits of the characters captured. While Audley, Swanberg and Gerwig are experimenting in different ways — both of these films explore the complications of human connection in distinctively original ways. It is the artist’s choice to determine how far he/she wishes to reach regarding any issue. And, to be honest, it is work that is intimately communicated that offers the most insight into culture and societal issues.

POSTER THOU WAST MILD AND LOVELY-05_1200_1200_1200

It is so restrictive to refer to any of these film as “mumblecore” — Most especially the intense examination of erotic desire, obsession and the perverse in Josephine Decker’s truly masterfully made THOU WAST MILD & LOVELY —  which is about as close to cinematic poetry I’ve ever seen. It also unnervingly disturbing. Nothing is “mumbling” here. At any rate, call it what you like. But it was starting in 2006 that I really began to note a strong spark of hope in the power of film that was stepping away from the openly sadistic strain of the French Extreme and not restricting itself to the lazy film language cranking out from the likes of Ron Howard and Spielberg and totally side-stepping away from the cartoon-like special effects laden movies that have so over-populating cinemas. The films grouped into “mumblecore” actually share little in common other than none of them have hardly any budget. This seems to give these movies an added level of energy — even when the director intentionally paces the film slowly.

newjerusalemposterNEWopt8.24x36

Most of all, I am very impressed by the way this generation of filmmakers are approaching media platforms of streaming to get their work out and be seen. Film Festivals have always been tied up in politics and commerce as much (or even more) than they are interested in film as art. And, while the major studios grapple with how to “control” the Internet instead of the content and quality of the movies that they green light — these people are focusing on creating the work that interests them and getting out to an audience.

A highly gifted experimental filmmaker and a skilled actor who goes by the name, Kentucker Audley, has created a simple website he calls “No Budge”

Kentucker Audley  (Photo by Larry Busacca/Getty Images)

Kentucker Audley
(Photo by Larry Busacca/Getty Images)

From what I can tell he is the sole curator of the site. I have found some of the most amazing work to watch here. He accepts submissions and then chooses the films that appeal to him the most to be streamed online for free. These “screenings” are often set with a specific window of time to help the filmmakers get the work out and seen. Then, they can have their films taken down once they find a way to distribute and make a bit of money.

Eleanore Pienta is Mona in Drew Tobia's See You Next Tuesday

Eleanore Pienta is Mona
in Drew Tobia’s See You Next Tuesday

For example I would have never known about an amazing movie titled SEE YOU NEXT TUESDAY directed by Drew Tobia and co-written with his leading actor, Eleanore Pienta. I saw this film during it’s screening window time for free. I was so amazed that such a low budget film could entertainingly lace quirky, profane, crude and often silly scenes to form a truly complex and potent examination of the challenges marginalized women over come to form bonds of friendship and love. Quite a feat.

synt25

And, here lies the beauty of Audley’s site. I saw the film for free, but purchased a legal download of the film via iTunes. Now I can watch it and hopefully the artist has made a little money. There have been several films and filmmakers I’ve discovered here that I have been able to seek out their work and purchase or rent it legally. The current film on the Audley’s site that has my attention is IN MEMORIAM, a 2011 movie by Stephen Cone. I would have never had the opportunity to see it or even know about Cone were it not for this site. This film, like many made by these artists, is almost brimming over with clever twists and turns in tone and mood.

A still from Stephen Cone's IN MEMORIAM

A still from Stephen Cone’s IN MEMORIAM

Here is a link to Audley’s site:

http://nobudge.com

Not that many people stop by here anymore, but in case you have — check it out. There is cinematic treasure to be found here.

tumblr_mxf1szqg0I1qa5lnno1_500