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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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Woman Under the Influence  John Cassavetes, 1974

A Woman Under the Influence
John Cassavetes, 1974

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The female psyche deconstructed…
PERSONA
Ingmar Bergman, 1966

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

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

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

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

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

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

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

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

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

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

Would it all still break the film strip?

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

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

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

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

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

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

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

Matty Stanfiled, 1.19.2016

 

 

 

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One of the best films to screen in 2015 will not be released to cinemas until next year. The Witch Robert Eggers, 2015

Yes, I know there are more than a couple of movies coming out before the year’s over. But none hold any interest for me. That’s just the way I roll. So, revised from the list I posted back just past the mid-point of the year:

Here are my favorite films of 2015. Some are actually from last year, but were not officially released until this year.

I’m relieved that I saw a few non-thriller/horror films that pulled me in. At the mid-point nearly all were horror movies. It has been a particularly strong year for Art Horror. Interestingly, one of the best films I’ve seen this year was a horror film that is not being released until 2016. This is despite much positive buzz on the Film Festival circuit. But you will not want to miss Robert Eggers’ The Witch.

The film may not have been exceptional, but Michael Fassbender didn't just seem to "play" the role -- for the span of the film he literally seemed to be Steve Jobs. A performance that should not be forgotten. Michael Fassbender as STEVE JOBS Danny Boyle, 2015 Cinematography | Alwin H. Kuchler

The film may not have been exceptional, but Michael Fassbender didn’t just seem to “play” the role — for the span of the film he literally seemed to be Steve Jobs. A performance that should not be forgotten.
Michael Fassbender as
STEVE JOBS
Danny Boyle, 2015
Cinematography | Alwin H. Kuchler

A number of movies that I thought might make my list just didn’t: Steve Jobs, The Walk, Carol, MacBeth, Crimson Peak, Anomalies, Room and High Rise struck me either as merely “good” or “interesting.” None were films I’d want to see again. But it is my opinion that Michael Fassbender and Brie Larson gave the impressive performances by leading actors. However, I could make an easy case for Josh Lucas’ brilliant performance as “Matt” in The Mend. But I still lean toward Fassbender’s ability to so effectively capture the truly iconic and historic master of design and marketing. I have not seen female actors come anywhere close to what Brie Larson manages to do in Room. Though Rinko Kikuchi’s work in The Zellner Brothers’ Kumiko The Treasure Hunter comes close.

An odd film becomes "realistic' thanks to Brie Larson's turn as "Joy." In my opinion this was the most solid performance from a female film actor in 2015. ROOM Lenny Abrahamsson, 2015 Cinematography | Danny Cohen

An odd film becomes “realistic’ thanks to Brie Larson’s turn as “Joy.” In my opinion this was the most solid performance from a female film actor in 2015.
ROOM
Lenny Abrahamsson, 2015
Cinematography | Danny Cohen

Both Cate Blanchett and Rooney Mara did exceptional work in the Todd Haynes latest film. The problem for me is that Carol seemed so intentionally artificial that what they both did seemed more like “performance art” than human reflection. Several other acting turns were magnificent this year: The already mentioned Josh Lucas in The Mend, Elizabeth Moss in Queen of Earth, Anne Dorval in Mommy, Paul Dano in Love & Mercy and  Sidse Babett Knudsen in The Duke of Burgundy all blew me away. Both James Hebert in Two Step and Sheila Vand in A Girl Walks Home Alone at Night made an incredible impact as relative unknowns.

A parody of usefulness... Josh Lucas THE MEND John Magary, 2014 Cinematography | Chris Teague

A parody of usefulness…
Josh Lucas
THE MEND
John Magary, 2014
Cinematography | Chris Teague

Seth Rogen also scored in his portrayal of Steve Wozniak to Fassbinder’s Steve Jobs. Of course there are the two respective turns by Sally Field in Hello, My Name Is Doris and Lily Tomlin in Grandma. Both are exceptional, but neither are required to deliver more than variations of their personas. It worked for both, but neither exceeded what I’d expect from seasoned professional actors.

My list is in no particular order and I’m really not sure which is my absolute favorite film of the year. If I was pressed against a wall I’d probably say it was between Rick Avlverson’s Entertainment and Ana Lily Amirpour’s A Girl Walks Home Alone at Night. But wait! What about Miroslav Slaboshpytskiy’s The Tribe? That was amazing!  Oh! And what about both Kumiko The Treasure Hunter? And what of Peter Strickland’s The Duke of Burgundy? I am just not sure which of these is best. Each of these films is unique unto itself with all have very different intentions and ideas.

See? I can’t ever pin-point just one film. Normally I require myself to restrict my list to only 10 films. But I was thinking: As this is my blog I will simply list the films that made my list of the best.  So, in no particular order…

My Favorite Films Released in 2015

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“Hi! I didn’t mean to scare you.” CREEP Patrick Brice, 2014

Technically, Patrick Brice’s film is from 2014. However, it was not released until this year. This has been a great year for Brice as a film artist. He had two film release credits to his name. His second film, The Overnight, offers itself as a very serious comedy that works quite well. But it is his collaboration with Mark Duplass that makes my list. The brilliance of Creep is largely fueled by the naturalistic performances from both Brice and Duplass. Fully plugging into Duplass’ sweet scrabby puppy dog charisma and channeling that into capturing an uncomfortable ambiguity within Brice’s own character’s fear. This odd perspective is explored just far enough to divert the audience. Creep carries itself with a darkly comic wink, but there is something far more sinister just out of the frame. Running just at about 80 minutes in length, Brice delivers a movie that elevates the concept of “found footage” to a new place and a new direction. On the surface, Creep is a fun adult horror movie. It is long after the credits roll that the underlying power really “creeps” up. This is an entertaining and deeply disturbing little movie.  Sure, it’s only a horror movie. Now, keep telling yourself that as you realize that what you’ve just seen could not only happen — it most likely has. Exceptional film.

Staying closely connected to the idea of “fact is stranger than fiction,” comes Alex R. Johnson’s Two Step. This surprising independent film lead the audience in one direction and then up-ends the whole concept down a completely different road. Johnson’s feature length directorial debut is a stunner.

TWO STEP Alex R. Johnson, 2014

TWO STEP
Alex R. Johnson, 2014

It is a rare talent to be able to do this much with a limited budget. It is all the more amazing that this filmmaker is able to take the “predictable” and twist it into something altogether “UN” predictable.  Another major asset for Two Step is the outstanding cast of actors. Every actor delivers strong and believable turns. Beth Broderick and Skyy Moore stand out in two of the film’s key roles. But the heavy hitting player is James Landry Hebert who not only brings a presence that fills the screen, it manages to raise the bar for capturing the cruelty of a “bad guy.” Watching Hebert in this role feels like we are watching a movie star who is destined to break big. This is an edge of the seat experience. An engaging, entertaining, intense, suspenseful and often shockingly brutal study of smalltime crooks. The film edges toward a truly menacing, horrific and unforgettable cinematic impression. Similar to but minus the dark humor of Creep, Two Step ‘s  most unnerving aspect is that nothing we see is outside the realm of realism. If you’ve not seen it, be prepared. This is one surprisingly mean and twisted little movie. Alex R. Johnson is another filmmaker to watch. And his supporting actor, James Hebert, is a promising actor. I would be surprised if he doesn’t have a major career ahead of him.

Next on my list is Love & Mercy.

"I was sittin' in a crummy movie With my hands on my chin All the violence that occurs Seems like we never win...: - Brian Wilson The only thing is there is nothing "crummy" about this film... LOVE & MERCY Bill Pohlad, 2015

“I was sittin’ in a crummy movie
With my hands on my chin
All the violence that occurs
Seems like we never win…: – Brian Wilson
The only thing is there is nothing “crummy” about this film…
LOVE & MERCY
Bill Pohlad, 2015

From beginning to end, a near flawless film. Paul Dano (as young Brian Wilson) and John Cusack (as middle-aged Brian Wilson) are fantastic. However, it is Dano who really appears to capture the essence of the troubled American genius. Even with a somewhat limited budget, this film rises far above the bar of celebrity stories. The film is far less concerned with The Beach Boys history or music as it is with the way creativity and mental illness form a unique, disturbing and magical dance. This is a director’s film. Bill Pohlad’s film is equal parts interesting, innovative, creative and astounding.  Unexpected and magical. I find it difficult to find any faults here. Love & Mercy lacks nothing.

Watching Xavier Dolan’s Mommy unfold is a mixture of annoyance, amazement and ultimately astonishing.

MOMMY Xavier Dolan, 2014

MOMMY
Xavier Dolan, 2014

The young director truly finds his footing between “artsy” and “eclectic” in this deceptively simple story of mother trying to come to terms with her son’s mental challenges. Dolan’s cinematographer, André Turpin, applies the director’s idea of trying to find a visual way to capture the limited and isolated reality that traps both mother and child. It is a bit challenging to adapt to this screen ratio in a cinema. In fact, if the cinema had not warned the Canadian audience, I think we all would have thought there was some sort of projection problem. As our eyes and senses adjust to both the visual concept and the intensely dire circumstances of the plot, there is no turning back. Dolan’s visual idea is fantastic. It is a transportive device. And if there are any people out there who have doubted Mr. Dolan’s skills, this movie should have put those thoughts to rest. This is a potent gut-punch of a movie! See it!

Next on the list is a whole new sort of twist on The American Movie Western. Slow West ‘s  Kodi Smit-McPhee’s character reads a poster, he is quietly corrected:

“Wanted Dead or Alive…”
“Dead or Dead, kid.”

This was used as John Maclean’s Slow West movie’s tagline. It is one of those rare marketing moments when the tagline truly fits the film it seeks to catch your attention.

"So, now... East. What news? "Violence and suffering. And West?" "Dreams and toil." SLOW WEST John Maclean, 2015

“So, now… East. What news?
“Violence and suffering. And West?”
“Dreams and toil.”
SLOW WEST
John Maclean, 2015

John Maclean’s Slow West defies expectations and stereotypes. Featuring some remarkable performances from Michael Fassbender, Kodi Smit-McPhee, Ben Mendelssohn and many others — this movie is aiming far higher than a genre film. This UK-New Zealand Independent Film takes the ideas of a The Wild West and the American Pioneers and delivers something altogether different and new. There is a constant sort of struggle going on between “myth” and “reality.” To further the point, Maclean’s film constructs itself from a rather tepid story into something far deeper. The subversion and dark humor only drive the heart of this film further.  Slow West is a darkly comical, brutal and violent examination of survival and determination.  But make no mistake, this amazing movie is all heart and incredibly human. Survival of the fittest means a great many things. And almost all of them are examined in one way or another within the confines of this movie.

Another film dated back to 2014 but released in the US early this year, Catch Me Daddy is another film that examined to what extent we humans will go to obtain freedom and personal chosen destinies.

"A great bird landed here. Its songs drew men out of rock. Living men out of bog and heather. Its song put a light in the valleys and harness on the long moors. Its song brought a crystal from space and set it in men's heads. The bird died. Its giant bones blackened and became a mystery. The crystal in mens' heads blackened and fell to pieces. The valleys went out. The moorland broke loose." CATCH ME DADDY Daniel & Matthew Wolfe, 2014

“A great bird landed here. Its songs drew men out of rock. Living men out of bog and heather. Its song put a light in the valleys and harness on the long moors. Its song brought a crystal from space and set it in men’s heads. The bird died. Its giant bones blackened and became a mystery. The crystal in mens’ heads blackened and fell to pieces. The valleys went out. The moorland broke loose.”
CATCH ME DADDY
Daniel & Matthew Wolfe, 2014

Daniel & Matthew Wolfe’s film begins as a steady slow burn that quickly boils into a sort of cinematic rollercoaster of suspenseful human horror.  An unrelentingly dark glimpse into an under-belly of current Britain. This film is not afraid of offending. In fact, I suspect these two filmmakers would be upset if some were not offended. Often shot in a bright neon candy drench, the film wisely allows the audience to put what we are initially seeing together. This is about as far from mainstream formula filmmaking as it gets. Solid performances and brilliant use of music propels the audience on a cinematic ride that is impossible to stop. Even as we swoop down and start our way back up to a final drop, we can’t help but look. Knuckles turning to white as we slam down the the track, we are on the edge of our seats waiting to see where this ride is going to take us.

Catch Me Daddy is a dark vision that refuses to be ignored or dismissed. A stunning cinematic experience that deserved a better theatrical distribution.

I was largely disappointed with what the major studios released this year, but there were some exceptions. Disney’s Pixar released Inside Out and it blew me away.

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“I’m Sadness.” “Oh, hello! Uh, I’m Joy. So, could I just… If you could… I just wanna fix that. Thanks.” INSIDE OUT Pete Docter & Ronnie del Carmen, 2015

It took me far too long to finally see Pixar’s Inside Out. Pete Docter and Ronnie del Carmens’ film has a whole lot going on — funny, sad, touching, clever, innovative, intelligent and all around brilliantly conceived reflection of the inner-workings of the human mind.  It’s hard to conceive anyone not enjoying this film. It’s appeal is not limited to children. In fact, there is a great deal here that will most likely soar over the heads of many children. I was captivated. Exceptional from all vantage points. I’m not a big fan of animation, but this one really caught my attention.

Unless you live in a major city, it is quite possible that you totally missed Roy Andersson’s fascinating Swedish film, A Pigeon Sat On A Branch Reflecting On Existence. If you did, time to catch up. It is now available via VOD.

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The final installment of his “Living Trilogy” is a series of sketches tied together with common themes. A Pigeon Sat On A Branch Reflecting on Existence Roy Andersson, 2014

Roy Andersson’s final film of his “Living Trilogy” is my personal favorite the series. Featuring some of the best droll humor and exceptional set design captured with Istvan Borbas and  Gergely Palos’ stilted cinematography, this is a droll masterpiece.  Essentially a series of sketches loosely tied together by a pair of hapless, depressed and angry “entertainment” salesmen “dedicated” to bringing joy to their customers.

Starting with topics such as death and dying to the futility of lust to the cruelty of human nature to one of the most disturbing metaphors for the true horror of European Colonialism — our salesmen sort of fumble their way through it all.This film is more likely to put more people off than it entertains. That being stated, I was deeply entertained. Intentionally slow and awkwardly paced, this is Absurd Surrealism at it’s most comic and effective. Totally matching my own personal cinematic tastes, Andersson had me within the opening 4 minutes before the credits even begin. A Must see!

And then the surprisingly artistic cinematic journeys into the realm of Art Horror…

It-Follows-Movie-Poster

“It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you.” IT FOLLOWS David Robert Mitchell. 2014

It amazes me that David Robert Mitchell made It Follows for just at $2,000,000. This film is more sleek, professional and better crafted than most films with a budget towering closer to $50 million. An impressive feat to say the least.

The film is masterful from every perspectives. Mitchell has created a sort of alternate world in which his characters and story reside. This world feels “familiar” but somehow none of it is quite right. It seems like we are in a sort of dream where everything seems like it could be from another era — even as far back as the mid-70’s — yet there are cell phones and modern cars, but there do not appear to be any modern televisions or computers. Instead, this is a world filled with typewriters, somewhat out-dated medical supplies and odd mixtures of clothing/hairstyles that don’t quite seem “current” or appropriate to the 21st Century. This disoriented world helps Mitchell achieve a deeply creepy vibe that starts almost immediately.

Horror does feels like the main goal of this movie. Mitchell is more concerned with psychology, paranoia, sex. And most specifically a sort guilt or worry attached to casual sex. The lead characters fears are immediate and are presented as “fact” — these paranormal stalkers are unnerving. As Jay’s fear and paranoia take over her life, she finds herself facing ethical decisions which she quickly dismisses. Jay is being stalked not only by some sort of paranormal rage, but guilt.

The importance of this smart and polished movie is the way Mitchell manipulates every aspect of his production to create an almost immediate tone of danger/doom. This tone is carefully articulated that it becomes a character. More profoundly creepy than scary, It Follows slips under your skin long before you recognize it.

The entire cast is exceptional, but it is the synthesis of cinematography, musical score, precise editing and such well planned writing fuses into an absorbing and unforgettable film. Mike Gioulakis’ cinematography and Rich Vreeland’s retro score deserve a great deal of credit. And Julio Perez IV demonstrates film editing at its best. But this film is clearly constructed by its director. David Robert Mitchell provides many clever details that draw viewers back for repeated viewings. A great example: An abandoned “Foursquare” style house in which the characters explore. It is not clear if Jay or any of the characters realize why this construction is so related as means of hiding and escape, but we are. A partial reading from a T.S. Eliot poem is also another way of articulating what is happening. If you enjoy horror or experimental films, It Follows will satisfy fans of both genres. I suspect that love and admiration for this film will only grow stronger as time goes on.

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The hierarchy and corruption of a sort of boarding school for the deaf becomes something of staggering depth. The Tribe Miroslav Slaboshpitsky, 2014

Like the majority of filmmakers working out of Eastern Europe, Myroslav Slaboshpytskiy’s The Tribe is about as dark, bleak and grim as cinema can get. It is also something dramatically different than I’ve ever seen on a movie screen. The plot of the film revolves within and around “life” in a sort of dystopian school, shelter, home, trade school or dorm for The Deaf. The true purpose of where we find ourselves is suspect.

No auditory speaking, no subtitles — essentially no sound save the breathing and movement of fingers, hands and arms. This is not some cheap marketing stunt. This is pulling the audience into the perspective of the characters who do not have the benefit of sound. We are essentially pulled into a “world” within which we have no way of easily understanding what is being communicated. The impact is almost without measure.  Myroslav Slaboshpytskiy’s cast is deaf. They communicate in sign language which very few of us actually know. To the director and the casts’ credits, it doesn’t take us long to determine what is going on, but it does serve as a sort of portal toward metaphor and allegory that would not exist without this challenging perspective.

Welcome to a world where all understanding and communication is stolen. Welcome to the world of The Tribe.

Cinematographer, Valentyn Vasyanovych, captures everything in an almost formalist and interesting set of long-takes. The art of cinematography is crucial here and extraordinary. Without question, we would be watching closely anyway, but Vasyanovych’s work lends itself to pulling us even closer in our almost dazed gaze. When our main character shows affection toward another, the possibility of being loved seems cruel to the other. Not fully certain what is stated between these two young people, but it certainly feels as if “Anna” feels that there is no room for “love” within the world in which both are trapped. The scenes between Anna and Sergey are intense, erotic and frightening. Partly because we are never sure exactly what is being communicated. Their argument seems like an outburst of violent gestures, grunts and thumps. The sexual intimacy is both beautiful and somehow disturbing. Especially given what we learn is actually going on within this dark and fractured world of a state-funded (?) school / dorm. There are a great many disturbing aspects in The Tribe. In fact, some of this film is more than a bit difficult to watch. And watching is key here. We have no choice but to watch, to blink or look away is to miss out on vital information about his grim world.

This film is a traumatic reminder to the audience who only have limited access to this tribes’ world. In more than a few ways we are transported and trapped within their world. Certainly not an easy film. But the vitalness and the cinematic magic is impossible to deny. And in my opinion, it would be tragic to miss this movie. An unforgettable sort of silent movie. …with no title cards to guide you. Sadly The Tribe received a very limited US release. But it will be coming forward via VOD, DVD and Blu-ray soon and is already available in the UK. If you love the art of film, you will not want to miss The Tribe.

One film that really surprised me was a movie that never seemed to capture the attention of audiences or film critics as it really should have: Hannah Fidel’s 6 Years.

"I can't not see you every day. I can't not be with you." 6 YEARS Hannah Fidell, 2015

“I can’t not see you every day. I can’t not be with you.”
6 YEARS
Hannah Fidell, 2015

“6 Years” is not an obvious film, but it may have been the way the film was marketed and filmed that confused potential viewers. At a time when it is literally almost amazing that any woman is able to command a film both as Director and Writer, it disappointed me that Fidell received such little support for her film. Brutally honest, 6 Years offers a great deal of insight into the messiness of the human condition. After six years of times spent in love, a couples’ mutually shared lives are on the cusp of major change. The question Fidell’s film poses is notWill they be able to make it work?” The question here isShould 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, in a role that comes close to equaling the skill of her older sister, plays a young woman with some very serious issues. As kind and loving as “Mel” is, she can be equally abusive. It doesn’t take long to realize that this beautiful and seemingly petit woman has very little control over her anger and frustration. Thanks to the filmmaker’s script, direction and her leading actors’ skills — this topic does not have to be discussed or overly analyzed. 6 Years presents the male of the relationship as the one who is actually the most vulnerable. “Dan” has no recourse. He has no way of protecting himself. He could, but to do so could harm the person he loves and could potentially crash his entire future. Ben Rosenfield’s performance is the magic of the film. He is able to portray “Dan” in a compelling mix of love, hurt, fear, anger and confusion. These are two actors to watch. A great deal of skill is presented by both from the film’s start to finish.

This is not your average cinematic “love story.” But this is most certainly about two people who are very much in love. The use of romantic tone is counter-balanced by the startling honesty with which the film bluntly steers us. Within the first few minutes, Hannah Fidell drenches her film in the glow of teen romance. Rays of sunlight drip over her two lovers as if waiting for a pop ballad to fill the aural space around them. This is not a mistake. It was a smart choice. The sunlit-kissed and dewy world of 6 Years, both informal and lush, reminds us that we are entering that magical and exhilarating feeling of first love. And this is true love. These two people have not yet forged forward enough into life to be fully weary, tired or jaded. They are young and full of promise. The power of their connection resonates and entices. So when our two protagonists come to the crucial moment of answering the film’s core question, it makes the reality of the film all the more potent. 6 Years is exceptional and deserves attention and a critical revisit by many.

When Elisabeth Moss’ Catherine smiles and jokingly says to her best friend, “Thanks for the exile.” It is more than half way through Alex Ross Perry’s odd film that we realize that a whole lot more can be read into Catherine’s seemingly sweet note of thanks to her pal. Welcome to the unique and somewhat familiar universe of Queen of Earth.

queen-of-earth-poster-07252015

Alex Ross Perry’s film is clearly inspired by several key films of Robert Altman, Roman Polanski and even Rainer Werner Fassbinder. But make no mistake: This film is absolutely true and unique unto itself. Carefully articulated and masterfully crafted, this film never veers. And if the audience is able to channel back to the idea of psychological melodramatic Surrealism, it will hold attention from beginning to end. It is as if the writer/director has created the perfect cinematic symphony with an orchestra full of exceptional players: Keegan DeWitt’s musical score, Sean Price Williams’ cinematography, Robert Greene’s tight editing and three actors in key supporting roles — all pull together to form an ideal “stage” for the Perry’s two key leading ladies.

Katherine Waterston’s portrayal is a mix of “ice” and “fire.” She moves about the film fully formed like twisted idea from a Modigliani painting merged with a 1970’s Holly Hobby Doll. But the heart, soul and ultimate power emanates from Elisabeth Moss. The camera seldom moves away from her and you don’t want it to — she is captivating and brilliant. Alex Ross Perry has created a real bit of magic with Queen of Earth. Despite a low budget and an idea that seems ripe for parody — he has created a stunning film as interesting as it is disturbing. Long after the film ends, the true horror of what has been played out takes on a deeper and more sinister element. This is most especially true when we realize that the ideas of reality, dream, paranoia, anger and insanity reach points where it is impossible to know what has actually happened. I’ve not been able to get this film out of my head since I saw it.

As much as Queen of Earth caught me off guard, John Magary’s The Mend threw me off the road.

Brotherhood explored in a whole new way... THE MEND John Magary, 2014

Brotherhood explored in a whole new way…
THE MEND
John Magary, 2014

This is John Magary’s feature length film debut is impressive. In fact, there is no sign of a first time filmmaker to be found. And he was blessed to secure Josh Lucas as Mat. Lucas delivers his best on-screen performance thus far. Essentially an incisive character study of two brothers. Both are miserable. One represses everything and attempts to force his way through. The other, Mat, seems to have slipped into an empty world of damage. As cruel as it is deeply and artistically insightful. These brothers are caught in vicious cycle of dysfunction that may or may not have been “passed-on” or “pulled” into their respective psyches. Often very angry, grim, profane and always somehow consistently subversively comic — Magary’s movie does something almost unheard of as we move well into the first quarter of The 21st Century, it is original in every way. This is not a celebratory man-boy movie. Nor is it comfortable with positioning itself as a revelatory study of family healing. The Mend reminds me a great deal of loose comedy I would expect to see come to us from France. This is a smart movie. Realistic and non-satirical, there is nothing cute or twee here. A bit like a dirty puppy you can’t decide to pet or lock out of your home, this film is compulsively bounding about with little to no concern for things that get broken as it runs about. This surprisingly dense film stays with you and invites repeated viewings. And it gets better every time I see it.

Filming with smart phones... TANGERINE Sean Baker, 2015

Filming with smart phones…
TANGERINE
Sean Baker, 2015

Sean Baker’s Tangerine is raw, crude, profane and full of heart. It also happens to very funny. Filmed using only iPhones and other smart phone related devices, Baker creates an unexpected and effective look for the movie. The film follows two girlfriends on Christmas Eve into the early hours of Christmas morning. These are two trans-women of color. They also happen to make their livings as sex workers. Kitana Kiki Rodriguez’s “Sin Dee” has just been released from a month stay in jail. Her best and far wiser pal, “Alexandra” (played with equally realism by Mya Taylor) makes the mistake of mentioning that Sin-Dee‘s man has been having an affair with another woman. …A non-trans-woman!!!  News of this sends Sin Dee into a full-on freak-out which we quickly suspect is a daily part of her routine. We follow these two friends and a taxi driver pursuing their day. There are a number of reasons this film works so well. The actors are pitch-perfect in their roles. Nothing happens that isn’t believable. And Baker smartly offers no excuses for or judgements on his characters’ lives. These people are presented for who they are. Also, as sordid as the movie gets, this is really a film about survival and friendship. Rodriquez and Taylor manage to consistently convey a kindness beneath the rough demeanors. The fact that the film is focused on two Trans-women and people who love them is not presented as plot. It is presented as a matter of fact.  See it.

Jason Banker’s second feature-length film, Felt, is possibly the most polarizing movie released in 2015.

Felt Jason Banker, 2014

Felt
Jason Banker, 2014

The San Francisco audience sat in silence as the credits rolled. The majority of the audience was female. I am male. But I approached and discussed the film outside with three young women. They were obviously shaken and unable to articulate how they felt about Felt. But each agreed that Banker’s movie conveyed an all-too real experience. The most expressive of the three women told me, “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 agreed, but none could articulate why. As I walked away one noted to me, “Actually, it was in that movie.

The first line of the movie is “My life is a fucking nightmare.” It is delivered in an almost “little girl” voice of a young adult woman. The woman is our protagonist. Amy Everson is more than the lead actor of Felt, she is also the co-writer of what appears to be a fictionalized and possibly “amp’d-up” version of her own experience. The movie’s Amy has obviously survived some form of sexual abuse. The actual abuse is never stated or confirmed, but it clearly happened. Her friends want to help her, but are growing weary of her coping skills. Not only have these skills become isolating, they are provocatively inappropriate and she is becoming too over-protective of them. Amy creates artwork and most importantly artistic costumes in which she has allowed herself to find her inner-strength and push away her fears of men. The costumes are perversely anatomically-correct. She has found a way to funnel her anger and fears through her art. The dark side of this coping method is that her once comforting art (stylized armor to self-protect) has begun to form into a sort of weapon with which she can project. “Armors” made of felt is starting to fuel a fantastical idea into a warped realistic alternative.

We see Amy in several scenes with single men of her own age. These scenes feel so real it hurts to watch. Each of these interactions reveals aspects of male behavior about, toward and with women. It is unsettling. The men Amy meets are dismissive, aggressive, inappropriate and passively menacing. If there is even an initial “friendliness” — it quickly feels false as a sort of menace or agenda seems to constantly be put into play. Her girlfriends seem to be “aware” of this, but almost come short of stating that it is easier to just “accept” the cultural misogyny. In essence it appears that Amy‘s more well-adjusted and functioning friends have and are assimilating into “Rape Culture.” The film is a slow-burn that seems to ask one core question: “How does a sexual assault victim heal in a world that almost seems to support the assault?” By the time a seemingly understanding and caring male (played beautifully by Kentucker Audley) enters her world it might be too late.

Bold, disturbing and infuriating, Felt is a movie that seeks to provoke. Jason Banker has filmed it all within the framework of Art Horror. The artistic mastery of his filmmaking can’t be denied. The casting of a non-actor in the lead role she has inspired is the film’s weakest link. However it does feel as if Amy Everson’s mono-tonal and expressionless visage often feels as if it might have appealed to Banker’s intentions. Amy wanders and wonders throughout the film as if numbed to her own body. Felt spews a firm depiction of cultural/societal misogyny that never seems to wain. Inappropriate and angry, Felt offers no middle ground. Audiences either hate or love it.

 

 

When Gregg Turkington appears on the screen of Rick Alverson’s Entertainment as Neil Hamburger, you know you’re in for a unique film experience.

rick-alversons-entertainment-and-the-end-of-the-american-west-body-image-1422113777

“Why? Whyyy? Whyyyyyy?!?!?!?!” ENTERTAINMENT Rick Alverson, 2015

Gregg Turkington (AKA Neil Hamburger) plays The Comedian. Our comedian is on a tour of Mojave Desert run-down nightclubs as the headlining comedian. With Tye Sheridan as his Opener Act, it is clear that this kid’s rather ironic clown-act is a more pressed and post-modern take on what The Comedian is trying to do. Subverting normal cinematic convention, Rick Alverson takes us into the increasingly disturbed mind of a depressed, aging, failing and lost comic. The Comedian‘s self-loathing and existential crisis start out as rants to the audience and then quickly escalate via a series of increasingly strange and surreal encounters and experiences. John C. Reilly makes a great appearance as a somewhat “defective” but concerned cousin. Michael Cera and Amy Seimetz also pop up along the tour.

Profoundly strange, magical, grim, comical and impossible to forget. Rick Alverson has crafted an amazing experimental film. Entertainment is his best work yet and one of the most impressive films to screen this year.

When Cynthia’s lover, Evelyn, assures her by saying, “I love you. I know I have a different way of showing it. But I love you.” It is hard to know if her idea of “love” is far more “show” than “true.” Of course, in a relationship true knowledge of the other is sometimes places on unquestionable ground. Peter Strickland’s The Duke of Burgundy presents a great deal more than expected.

"Would a human toilet be a suitable compromise?" THE DUKE OF BURGUNDY Peter Strickland, 2014

“Would a human toilet be a suitable compromise?”
THE DUKE OF BURGUNDY
Peter Strickland, 2014

It is interesting to note that Peter Strickland’s initial motivation to make this film was inspired by the early sexploitation films of European filmmakers like Jess Franco and Jean Rollin. Just as 2012’s Berberian Sound Studio sprouted from an interest in the infamous giallo Italian films of the 1970’s, The Duke of Burgundy is only loosely tied to Franco and Rollins’ cinematic ideas. While Berberian Sound Studio took place in the paranoid psychosis created by assisting in the sound design of a giallo horror film, that movie went some place far deeper than giallo ever ventured. The same can be said of Strickland’s latest film which follows two lovers as they approach a troubling shift in their relationship. Carefully and artfully constructed, the film’s lush and surreal setting serves as more than an erotic set-up. Peter Strickland refuses to restrict his story to the limitations of eroticism or to the perverse objectifications of the couple’s BDSM games. As the meticulous film unfolds, there is an unsteady feeling that The Duke of Burgundy has no limits. This film offers its audience no safe word.

While the film is ripe for erotic exploration, Strickland and cinematographer, Nicholas D. Knowland, apply surprising restraint. Whereas Franco or Rollin would have felt the need to push the boundaries of KINK or nudity or introduce a full-force menace, Strickland actually goes to the most vulnerable aspect of humanity. This is a film of the heart. This is less about kinky sex games as it is more about love that has begun to bore, sour and fade. Despite the many uses of Surrealism and Cinematic Metaphor, this movie is about two people who must either accept the other’s need for power or refuse it and move forward.

Sidse Babett Knudsen and Chiara D’Anna are both up to the films challenges. And they are challenged. Much of what we learn is told in their eyes, movements and phrasings. For a film so firmly rooted in a lesbian couple’s sexual games, one might anticipate that there would be a high degree of eroticism. What might have once been a mutual erotic game of desire has grown into twisted ritual that could easily be misread as a cruel boss and her over-worked maid. Only one lover is being satisfied. The attraction of mutually shared joy related to entomology appears to be the only truly intimate connection. Hence the film’s odd title, The Duke of Burgundy is a type of butterfly unique to southern England’s spring butterfly. But even this connection is becoming a challenge for both. As we watch the two women listening or leading lectures to other entomology-concerned women, we notice that there are perfectly dressed and coifed mannequins sit in the audience with the live women.

More neurotic than erotic, the characters fight to stay within the lines constructed by desire. One or possibly even both feel as if intimacy has reduced each to mannequins being placed in position. As often the case, the bottom is the master. The top or dominating is actually the slave. This film’s meaning is not limited to a lesbian relationship or BDSM. This is a film about love and trying to work through the challenges of a relationship. Unlike those mannequins seated for the lectures, this film is alive, vibrant and pulsating with blood and tears. And by the time reaches the ending point we understand that both women are vested to each other, but can love survive such rigid rules and restrictions? Strickland’s movie is spot-on and unforgettable.

A kind older woman offers a bit of insight to her uncomfortable house guest who she has mistaken for a Japanese tourist, “Solitude? It’s just fancy loneliness.” This comment offers no solace to the heroine of The Zellner Brothers’ Kumiko, the Treasure Hunter.

KUMIKO THE TREASURE HUNTER David Zellner and Nathan Zellner, 2015

KUMIKO THE TREASURE HUNTER
David Zellner and Nathan Zellner, 2015

David and Nathan Zellner’s film is an abstractly loose variation on an actual incident involving a Japanese woman who died in the unforgiving climate of Fargo’s winter. The real “truth” was she was there to revisit memories of a past love before killing herself. But due to misunderstanding her English prior to her death, a false rumor began to morph into a “truth” that she had traveled to Fargo to find what she “believed” to be the stolen money buried in The Coen Brothers’ 1996 film, Fargo. Kumiko, Treasure Hunter plays with the the idea that has remained firmly grounded in the realms of urban myths generated by The Coen Brothers movie.

Ringo Kikuchi gives a painfully realistic performance of a woman so depressed and detached from her own world in Tokyo she has begun to slip into a world of isolation and retreat. Kumiko has lost the ability to apply logic. She no longer knows reality from fantasy. Wisely, it is never explained why or how Kumiko manages to “unearth” a battered VHS tape of Fargo. But it is clear she mistakes that iconic film’s opening statement, “This is a true story” for “fact” and assumes she is seeing some sort of documentary. Her inability to apply logic to her situation and desires leads her to abandon everything, including her beloved pet rabbit, to find her way to Minnesota in pursuit of what she now perceives to be her life’s mission. She is hellbent on finding that case of money she saw Steve Buscemi burry in the snow.

David Zellner’s film is even more quirky than Coen’s Fargo. This quirkiness is established in the ways we see a clearly unstable woman interacting with her Japanese peers, boss, family and the local Americans as she refuses to relent in her pursuit. It is a fascinating journey to follow. Mixing realistically comic encounters with the increasing uneasy tone is achieved by a balance of acting fused with effective musical score, elegant editing and stylistic camera work. Sean Porter’s cinematography is of particular note.

The movie is constantly challenging the viewer to know if it is “ok” to chuckle/laugh or if this reaction is inappropriate. Rinko Kikuchi never drifts away from what is clearly a tragically lost character in dire need of help. This entire cinematic experience is both fascinating and devastating in equal measures. Kumiko, The Treasure Hunter is one for whom we cheer. And she is also a tragic parable of humanity pursuing dreams that are impossible to achieve. This masterful film weaves its way into our minds and hearts. One should not miss the opportunity to see this movie. It carries a disarming level of power.

It might be that I will forever remember 2015 as the year that Ana Lily Amirpour made her feature-length film debut. I am unable to choose the best or my absolute favorite film of the year, but A Girl Walks Home Alone at Night is the one I’ve seen the most. Unlike many artists of her generation, Ms. Amirpour appreciates the audience. Clearly intelligent, effortlessly interesting and always engaging when asked to sit down for a Q&A — Ana Lily Amirpour is honest but never at the expense of the individuals asking her questions or offering her insights. Her first film is often compared to the work of Jim Jarmusch. This is not a comparison she can agree with and she handles it with humor and kindness. She is clearly not a big fan of Jarmusch’s work, but she never takes the opportunity to slam him or the idea that he influenced her film. If there is any clear influence that shines through this amazing film it is that of the late 1960’s Spaghetti Western.

The chador as cape... Sheila Vand shows her teeth A GIRL WALKS HOME ALONE AT NIGHT Ana Lily Amirpour, 2014 Cinematography | Lyle Vincent

The chador as cape…
Sheila Vand shows her teeth
A GIRL WALKS HOME ALONE AT NIGHT
Ana Lily Amirpour, 2014
Cinematography | Lyle Vincent

 

I think the reason we think of Jim Jarmusch as we watch A Girl Walks Home Alone at Night is not because it is sleekly shot and designed in black and white. It is because the movie utilizes amazing music, is quietly intellectual and from beginning to end the movie oozes natural cool. The best kind of cool. Amipour’s film never feels like it is trying to be “cool” — it simply is.

The stunning film alternates between being an observation of humanity and vampiric horror.  Ultimately, the stronger emphasis is on loneliness, isolation, the need for acceptance and love. There is actually a whole lot going on in this tight movie. This stylized movie is captivating, magical, mysterious and unique. It is a dark visionary movie that manages to evoke an air of hope. As I watched Ana Lily Amirpour’s film for the first time, I got the distinct feeling I was sharing in the impact and realization that every one of us in that screening room was witnessing the emergence of an important cinematic voice. I’ve lost count of how many times I’ve seen this sleek film. The perfect balance of image, sound and ideas.

It begs for repeated viewings. And it offers something we rarely see in film these days: You hate to see it come to an end. 

I can’t wait to see what Ana Lily Amirpour does next. Her next film is in post-production. I can’t wait to see if I can get lost in it the way I can in A Girl Walks Home Alone at Night.

There are several movies that have yet to open. They are what most would call “Oscar Bait.” The older I get the less patience I have for those kind of movies. I’m not sure if any of my favorite films of 2015 will make it to Oscar consideration. The thing is, this has become more a sign of quality to me than if they were. Let’s reject the brainless mainstream and strive to find art that offers more than the predictable. Support the Film Artist. 

Cool not because it tries to be, it simply is... A GIRL WALKS HOME ALONE AT NIGHT Ana Lily Amirpour, 2014

Cool not because it tries to be, it simply is…
A GIRL WALKS HOME ALONE AT NIGHT
Ana Lily Amirpour, 2014

Matty Stanfield, 11.27.2015

 

 

 

 

 

 

 

 

 

 

 

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

Queen of Earth Elisabeth Moss / Katherine Waterston Alex Ross Perry | 2015

Queen of Earth
Elisabeth Moss / Katherine Waterston
Alex Ross Perry | 2015

Alex Ross Perry’s film is clearly inspired by several key films of Robert Altman, Roman Polanski and even Rainer Werner Fassbinder.

But make no mistake: This film is absolutely true and unique unto itself.

Katherine Waterston and Elisabeth Moss Queen of Earth Alex Ross Perry, 2015 Cinematography | Sean Price Williams

Katherine Waterston and Elisabeth Moss
Queen of Earth
Alex Ross Perry, 2015
Cinematography | Sean Price Williams

Alex Ross Perry’s film is well articulated and masterfully done it never veers. It holds the audience from beginning to end.

It is as if the writer/director has created the perfect cinematic symphony with an orchestra full of exceptional players: Keegan DeWitt’s musical score, Sean Price Williams’ cinematography, Robert Greene / Peter Levins’ tight editing and three actors in key supporting roles (Kentucker Audley, Patrick Fugit, Kate Lyn Sheil and Keith Poulson)   — all pull together to form an ideal “stage” for the Perry’s two key leading ladies.

Katherine Waterston and Elisabeth Moss Queen of Earth Alex Ross Perry, 2015 Cinematography | Sean Price Williams

Katherine Waterston and Elisabeth Moss
Queen of Earth
Alex Ross Perry, 2015
Cinematography | Sean Price Williams

Katherine Waterston’s portrayal is a mix of “ice” and “fire.” She moves about the film fully formed like twisted idea from a Modigliani painting merged with a 1970’s Holly Hobby Doll.

Katherine Waterston  Queen of Earth Alex Ross Perry, 2015 Cinematography | Sean Price Williams

Katherine Waterston
Queen of Earth
Alex Ross Perry, 2015
Cinematography | Sean Price Williams

But the heart, soul and ultimate power emanates from Elisabeth Moss. The camera seldom moves away from her and you don’t want it to — she is captivating and brilliant.

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

Alex Ross Perry has created a real bit of magic with “Queen of Earth.” Despite a low budget and an idea that seems ripe for parody — he has created a stunning film is as interesting as it is disturbing. Long after the film ends, the true horror of what has been played out takes on a deeper and more sinister element.

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

Absolutely brilliant.

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

Don’t miss it…

Katherine Waterston Queen of Earth Alex Ross Perry, 2015 Cinematography | Sean Price Williams

Katherine Waterston
Queen of Earth
Alex Ross Perry, 2015
Cinematography | Sean Price Williams

Matty Stanfield, 8.27.15

FELT Jason Banker, 2015

FELT
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
FELT
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
FELT
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?
FELT
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
FELT
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
FELT
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: http://www.villagevoice.com/film/in-daring-indie-felt-a-young-woman-seizes-rich-dudes-masculinity-7290019

Andrew O’Hehir of Salan.com 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
FELT
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
FELT
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
FELT
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.

http://www.amyeverson.com

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
FELT
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
FELT
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
FELT
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
FELT
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
FELT
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
FELT
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
FELT
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

You may not not fully recognize Memorex’s slogan or Steve Steigman’s iconic photograph unless you were born before 1978. Memorex Tapes were challenging listeners’ ability to judge between live performance and recordings of something that was once a live performance.

Memorex sound quality is blowing Peter Murphy away.  Photograph | Steve Steigman, 1979

Memorex sound quality is blowing Peter Murphy away.
Photograph | Steve Steigman, 1979

The ability to distinguish fantasy from reality is gained sometime between the ages of 3 and 5. That doesn’t mean that a 7 year old will  trust his mother when she tells him there are no such things as monsters.  It also doesn’t mean that the child’s mother might not be able to fight the need to look in her own closet or under her own bed from time to time. The concept of “monster” changes as we grow into adulthood.  Mom and Dad know there are no monsters in the house, life’s brutal truths leaves us all with a vague uncertainty about what potentially could be hiding under our beds. The mind’s perceptions related to “truth” and “false” are constantly shifting. Movies constantly challenge our process of thought.

Have you ever been able to fully enjoy swimming in the ocean without thinking of that girl being attacked by the shark?  Jaws, Steven Spielberg Cinematography | Bill Butler

Have you ever been able to fully enjoy swimming in the ocean without thinking of that girl being attacked by the shark?
Jaws, Steven Spielberg
Cinematography | Bill Butler

Logic tells us that being attacked and consumed by huge shark is not only highly unlikely, but close to impossible. Logic also refuses to let go of the very real horror that Steven Spielberg’s Jaws lodged deep within our collective consciousness. We know that Michael Myers is not in our house, but there will always be a vague worry that someone like him might not have followed us and now waits to attack us. Movies play an important role in life beyond entertainment. Film Art projects our hopes, dreams, fears and reality in deeply effective ways. Our ideas and certainties often find themselves being challenged by the Film Artist’s motivation. Whether the intent is to manipulate us into fear or to bend it to suspend them to accept fiction as fact or to force our attention on an idea in a whole new perceptive. Defining the art of documentary from the art of fictional film is often more difficult than can be easily articulated.

The Blair Witch Project played with the idea of turning “found footage” intended for a film student’s documentary into the horror film genre. In the years since Daniel Myrick & Eduardo Sánchez’s 1999 low-budget classic seeped first tripped many film viewer up at the cineplex, this idea is has been explored so much that it is increasingly hard to fool us. The Blair Witch Project has become a symbol of parody and a lingering source of cinematic inspiration. It is interesting how most refuse to admit how this 1999 movie has changed the experience of camping in the woods. Interestingly, the sounds of what could potentially be a very real threat of a bear has morphed into an idea of some paranormal demonic presence. It takes only a few seconds to push the irrational fear away so the we can focus on what could be a “real” concern.

This screenshot of Heather Donahue became iconic within less than a week of the release of The Blair Witch Project, Daniel Myrick & Eduardo Sánchez, 1999.

This screenshot of Heather Donahue became iconic within less than a week of the release of The Blair Witch Project, Daniel Myrick & Eduardo Sánchez, 1999.

The power of a talented film director lies in his/her ability to utilize motivational intent to sculpt fiction into reality or reality into fiction to form a bridge toward “the truth” that leads the audience. It is not unusual for an artist to be somewhat fixated or even obsessed with one or maybe two core themes that runs his/her entire collected works. It is also not usual for an artist to approach a wide variety of themes by use of one particular style. What is rare is to discover an artist as self-aware of not only his work but what truly motivates him to pursue it. Werner Herzog never uses vague or opaque terminology when he discusses film. He is blunt in addressing questions related to his work and his opinion of the type of film art that appeals most to him.

“You should bear in mind that almost all my documentaries are feature films in disguise.” – Werner Herzog

His interests revolve in the way humanity attempts to interact with nature which inevitably lead his audience to an idea that seems to bother many. The core idea is that nature’s beauty is deceptive. Herzog sees nature as a place of cruelty, chaos and danger. Despite this bleak view, he is a major advocate of saving it. But the most interesting aspect of Herzog’s work is that he loves exploring the perplexing ambition of humanity to bend nature to his needs and dreams. Werner Herzog loves dreamers and the pursuit of their dreams. These dreamer might take the form of a sociopathic warrior, an obsessive music fan, a drug addled cop, a brave soldier, a naive amateur environmentalist, or a vampire — These dreamers eventually must wake and face their irrelevance to “The Beast” of the earth’s natural power. Aside from the fact that Herzog has always expressed his logical views and awareness of the chaotic world of nature, he still fully relates to his flawed cinematic dreamers.

While Fitzcarraldo is a narrative feature film, the feat of pulling of undertaking the task of pulling a boat that size up a mountain was brutally real. Klaus Kinski as Fitzcarraldo, Werner Herzog, 1982. Cinematography | Thomas Mauch

While Fitzcarraldo is a narrative feature film, the feat of pulling of undertaking the task of pulling a boat that size up a mountain was brutally real. Klaus Kinski as Fitzcarraldo, Werner Herzog, 1982.
Cinematography | Thomas Mauch

Herzog seldom applies any trace of what I would call “style” — even his surrealist work is grounded in a very simple application of camera. Both Aguirre Wrath of God and Fitzcarraldo are both amazingly beautiful and take full advantage of the surroundings in which his dreamers find themselves. But the camera work is economical and usually static. They both have the look of a documentary. Regarding the making of both these movies, Herzog and his team encountered more than a few major challenges. These challenges were often as dangerous and unbelievable as the stories themselves. Defining documentary as “truth” and narrative film as “fiction” restricts artist, subject and audience from understanding how to engage.

Herzog’s brilliant film is not a fictional film. It is based on the Carlos Fermín Fitzcarrald, a 19th Century Peruvian rubber barron who managed to fight all odds and transport a 30 ton steamship across a treacherous isthmus (or strait of land) and then onwards from one challenging river to another. He and his team did this by dismantling the ship into pieces and reassembling it once destination was reached. This feat obviously caught Herzog’s imagination, but he had no problem in mixing fiction with truth. As  Fitzcarraldo, Klaus Kinski conveys a passion that quickly turns into almost insane obsession. So strong is his love of opera that is determination knows no bounds in bringing that music to the culture in which he lives. The core of Fitzcarraldo is one man fighting any and all odds in pulling a 300 ton steamboat over an isthmus between the Urubamba and the Camisea rivers. Herzog not only increased the boat by ten times the truth, but he had his protagonist achieve it without any dismantling.

The movie that almost defeated Werner Herzog who nicknamed himself  "Conquistador of the Useless"  The Infamous Steamship in Fitzcarralod, Werner Herzog, 1982.  Cinematography | Thomas Mauch

The movie that almost defeated Werner Herzog who nicknamed himself “Conquistador of the Useless”
The Infamous Steamship in Fitzcarralod, Werner Herzog, 1982.
Cinematography | Thomas Mauch

Not only did Herzog, his dedicated crew, and the tribal Aguaruna people of the region have to join forces to make this happen they also had to deal with the insanity of Klaus Kinski while doing it. Herzog uses no special effects. He and his crew really pulled that huge boat up and over the mountain. Misunderstandings between cultures resulted in tribal members destroying camp sites. Frustrations and exhaustion created intense fits of rage. Friendships and cultural relations were pushed beyond well past acceptable boundaries. Mount all of this with the perspective that the tribal Aguaruna men so detested Klaus Kinski they wanted to kill him.

Klaus Kinski winning friends and influencing people.  Fitzcarraldo Werner Herzog, 1982 Cinematography | Thomas Mauch

Klaus Kinski winning friends and influencing people.
Fitzcarraldo
Werner Herzog, 1982
Cinematography | Thomas Mauch

Tragically, three of the six film artists on the boat as it crashed against the rapids were seriously injured. To be clear, Herzog was one of the six on the boat. Consistently honest and open to discussion, Herzog has stated that he used all tensions to the benefit of the energy we see in the film. All challenges were faced and ultimately met head-on. The result is one of the most interesting films of not only its era, but of all time. Even with 34+ years of time since, Herzog is still often in the position of defending his choices during the staggering production of the iconic movie.

The sheer beauty and idea of a man and his pursuit of a dream against all obstacles may not be new in “concept” but never has it been portrayed in such a painfully realistic way. How does one actually define “truth” and “fiction” when it comes to Fitzcarraldo?

The level of will, risks of danger and dedication required by the production is the stuff of legend. But this is legendary truth.  Les Blank’s documentary, Burden of Dreams, is focused on Herzog making Fitzcarraldo is almost as interesting as the film itself. Les Blank captures The Artist grappling with not only incredible odds of completing production — it also captures Werner Herzog worn down past the point of exhaustion, but on the brink of re-thinknig his own personal identity to filmmaking, to nature and to life itself. It serves as a historic document of filmmaking. The distinction between “truth” and “fiction” are more clear in Blank’s Burden of Dreams. Or are they?

Werner Herzog discusses his worries and concerns as the boat sits stuck at the bottom of the mountain. Burden of Dreams, Les Blank, 1982.

Werner Herzog discusses his worries and concerns as the boat sits stuck at the bottom of the mountain. Burden of Dreams, Les Blank, 1982.

As Les Blank films the ever-mounting challenges, failures, tensions, fatigue and dangers involved in bringing Fitzcarroldo to the screen —  we are able to actually see how Herzog and all involved managed to do what we see in the film. However, there are moments in Blank’s documentary that make it all too clear that everyone knows they are being filmed. There is no escaping that in any documentary, but when you are filming artists at work some of what is said or how things are done take on a greater significance. This is especially true early on before everything begins to unravel beyond control. It is obvious that Klaus Kinski’s personal vision of reality has long been loosely defined.

Klaus Kinski in one of many rage filled rants at poor Walter Saxer, Production Manager.

Klaus Kinski in one of many rage filled rants at poor Walter Saxer, Production Manager.

Most interesting is the way we first see Herzog discussing his views of nature vs. Kinski’s attitude. Herzog loves to discuss ideas. So the content of what he tells Les Blank is all familiar. But to hear these ideas within the context of “where” he is both geographically and psychologically does not seem to fit. There is a most definite air of performance. It is only as Herzog’s determination, patience and passion began to collapse from tensions and exhaustion that Blank actually captures Herzog at his most self-aware and most distanced from the concept of Blank’s camera. “If I abandon this project, I would be a man without dreams and I don’t want to live like that,” he tells Blank. As the production gets closer to completion, Blank asks what he plans to do next. A surprising defeatist attitude comes forward: “I shouldn’t make movies anymore.”

Lucky for us that was exhaustion speaking. Herzog would go on. As he moves further into documentary filmmaking his artistic motivation remains consistent. Contrary to what many would like the audience to think, Herzog is not a cruel man. “Exploitation” is a problematic word when it comes to The Creative Arts. I do not feel Herzog “exploits” his subjects more than any other filmmaker. He does sometimes manipulate and approaches all subjects/topics in a distinct pursuit from the moment productions star though to the post-production editing and narration. Herzog bend and adjust the focus of the camera’s lens on reality so that it captures his motivational intent of showing us his personal “truth” — and that is not far from how fictional narratives are made.

I did entertain the idea of writing about these films in a chronological order, but when discussing the art of documentary vs. the art of Narrative Film — it just seems most natural to start with Herzog and then immediately turn to Errol Morris. While the motivational goals of both filmmakers are different, there is a very strong connection in the way both artists capture humanity and the many ways we either adapt or refuse to adapt to our environment and the others with whom we share it. It is also no secret that Werner Herzog played a key role in helping Errol Morris to stick with his vision and get his film completed. Herzog even stated that he would eat his own shoe if Morris would finish his movie. Ever true, Herzog ate his shoe in front of a full house at UC Berkeley forever captured in Les Blank’s Herzog Eats His Shoe.

In support of Errol Morris' Gates of Heaven.  Herzog Eats His Shoe Les Blank, 1980

In support of Errol Morris’ Gates of Heaven.
Herzog Eats His Shoe
Les Blank, 1980

It is challenging to think of an art form that is more collaboratively dependent than filmmaking. Every member of a film crew and crew is crucial to the outcome of each scene. And when the crew is minimal it often only enhances the need for collaborative unity in bringing all skills and talent together to meet the director’s vision. I’ve always thought of the director as an intensely driven orchestra conductor. The director must find ways to guide, motivate and gain the trust of everyone behind and in front of the camera(s). Some are better at this than others. I’ve noticed that the directors who most interest me tend to have the reputation of being more open to new ideas and feedback from his/her crew/cast but never never to the point of breaking away from  her/his artistic intent. I suspect it is a very fine art of balancing perspective to be open enough, but finding a way to close it without turning the other artists against him/her.

Over the years since Gates of Heaven and Vernon, Florida, Errol Morris has evolved a system of documentary filmmaking that is efficient and effective. But no matter how his approach has changed, Morris cares about his subjects. They trust him as much as his crew. He consistently produces powerful and polished documentaries. As good as his current work is, he has never found a way back to the casual approach applied that created as magic or human as Gates of Heaven.

Transcending The Art of Documentary Film.  Gates of Heaven Errol Morris, 1978 Cinematography | Ned Burgess

Transcending The Art of Documentary Film.
Gates of Heaven
Errol Morris, 1978
Cinematography | Ned Burgess

No matter how many times I watch Gates of Heaven — and I have watched it over and over ever since it came out on VHS — I always notice something new or I discover something deeper of myself hiding within it. As one of the pet owners attempts to needlessly defend grief, he says “There’s your dog; your dog’s dead. But where’s the thing that made it move? It had to be something. Didn’t it?” Over time, these people and their respective observations Errol Morris captured have consistently taken a deeper meaning for me. I’m not alone in that feeling.

Errol Morris had not yet fully grasped what would serve as his artistic motivation. In the mid-1970’s he only knew what he found interesting. The starting point seems to have been an article he read in the newspaper. Some sort of falling out between the owners of a small pet cemetery had led to the decision to sell the cemetery’s land to a corporate developer. While the soon-to-be former owners of the cemetery have found a way to remove the deceased animals and transfer them to another pet cemetery, the former pet owners were upset. This was the starting point of Errol Morris unforgettable feature debut. His starting point would lead him to unexpected discoveries that pulled him in a number of directions. It wasn’t until he sat down to edit the footage that he found his motivation: humanity.

Gates of Heaven was a true game-changer in the world of documentary filmmaking as well as to the general Art of Film. We now know that much of what Morris achieved was due to some lucky circumstances that seem to have not only inspired him but required him to come up with a way to get these people to actually talk with him. Gates of Heaven transcends beyond the typical ideology of “The Documentary Film” — the focus and tone are always changing as we watch. What appears to be a documentary about the reasons for the creation and demolition of one pet cemetery gradually appears to be leading us to the story of a new pet cemetery. As the “stories” develop his camera continually readjust “focus” to a wide variety of people who have some vested link.  Morris’ initial interviews with the first round of owners feels familiar but somehow “off” — These people open up to Morris, but it seems as if he is attempting to stage them. There is a long shot of his first subject sitting uncomfortably under a tree. The camera’s perspective is distant. But soon we notice a distinct change in the manner Morris approaches his subjects. With the gift of hindsight information we know that Errol Morris discovered that people are more open when you allow them to decide where they will be filmed. He also discovered that the best thing he could do was simply ask one question and just keep the camera rolling. As these people begin to try and form an answer to his question(s) they began to forget the presence of the camera. They are actually speaking to Errol Morris as a person. He loses the identity of a filmmaker. They trust him.

Phillip Harberts reveals far more than motivational techniques or his new role working with his family in Gates of Heaven, Errol Morris, 1978. Cinematography | Ned Burgess

Phillip Harberts reveals far more than motivational techniques or his new role working with his family in Gates of Heaven, Errol Morris, 1978. Cinematography | Ned Burgess

If you’re taking the time and attempting to read my ramblings — I’m confident that you’ve already seen Gates of Heaven at least once if not multiple times. The above screenshot is a classic example of Errol Morris’ technique. Sitting in his office surrounded by the objects that he most prizes, Phillip Halberts begins his infamous system for being an effective salesman. It is a truly funny scene of the movie. The key hers is that the viewer never loses sight of the fact that this guy is grappling with emotional and professional challenges that are all too familiar to any adult. We can’t help but giggle as he lists out his theory for success. But we can’t help but like him. Like nearly everyone featured in the movie, you find yourself wishing you could reach through the screen and offer some support.

"Oh! Wha- what was that? Was that a car? My goodness!"  Gates of Heaven, Errol Morris, 1978 Cinematographer | Ned Burgess

“Oh! Wha- what was that? Was that a car? My goodness!”
Gates of Heaven,
Errol Morris, 1978
Cinematographer |
Ned Burgess

The main point here is that Gates of Heaven is important, valid and ageless documentary. Gates of Heaven offers nothing in the areas of the political, environmental, social or ethical issue. Errol Morris found an entry point into the deepest concerns of humanity.  The only artistic motivation is focused down to exploring the deep need for connection, love and understanding. In the end, it has very little to do with the pets. It is about the humans who love them.

Albert and David Maysles began their careers firmly rooted in the idea that they were not really “Documentarians” — Both brothers were devoted to the idea of cinéma vérité or, more accurately, The Maysles Brothers viewed their films as “Direct Cinema.” In other words, their artistic motivation was to capture reality as it happened and then to turn it all around to question the validity of the “reality” captured. Direct Cinema doesn’t clearly define a boundary between the filmmaker and the situation/subject that is being filmed. Albert and David Maysles and their fellow collaborators had no problem if they became a part of the situation or developed a friendship or disdain with their subjects. The idea of “reality” is always in question when Direct Cinema technique is applied. Direct Cinema film artists welcome confusing concepts of reality. But it is fairly well documented that neither of The Maysles had any idea that their interest in Big Edie and her daughter, Little Edie would become a cinematic and cultural milestone.

Little Edie asserts herself despite the signs of decay that surround both she and her mother, "...you see in dealing with me, the relatives didn't know that they were dealing with a staunch character and I tell you if there's anything worse than dealing with a staunch woman... S-T-A-U-N-C-H. There's nothing worse, I'm telling you. They don't weaken, no matter what."  Grey Gardens, Albert Maysles& David Maysles, 1975.

Little Edie asserts herself despite the signs of decay that surround both she and her mother, “…you see in dealing with me, the relatives didn’t know that they were dealing with a staunch character and I tell you if there’s anything worse than dealing with a staunch woman… S-T-A-U-N-C-H. There’s nothing worse, I’m telling you. They don’t weaken, no matter what.”
Grey Gardens, Albert Maysles & David Maysles, 1975.

Perhaps even more importantly, the fact that they both found themselves caring about these two women. It would be challenging to touch on all of the aspects of culture and film that Grey Gardens influenced. Too strange and intense to match the easy-access of Errol Morris’ Gates of Heaven that would follow over three years later. Grey Gardens became a cult hit that slow-burned itself into the cultural thumbprint of America.

Edith Ewing Bouvier Beale / “Big Edie” and  Edith Bouvier Beale / “Little Edie were the aunt and cousin of Jacqueline Kennedy Onassis. At one time these two women were major players in the world of wealth and influence.

We will never really know what happened to this beautiful and vital young woman to make her retreat into seclusion. But we can't forget Little Edie.  Grey Gardens Albert & David Maysles, 1975

We will never really know what happened to this beautiful and vital young woman to make her retreat into seclusion. But we can’t forget Little Edie.
Grey Gardens
Albert & David Maysles, 1975

But by the mid-1960’s they had officially slipped into an isolated world. They had already been living in the grand home for decades and labeled as “Crazy Recluses” for quite a while. Despite being supposedly well-monied, Big & Little Edie lived on limited funds for decades. The once stunning home officially named Grey Gardens in the 1920’s  began to fall into decay. By 1971 the wealthy residents who lived near the estate began to file official complaints. They were living without running water, tons of garbage, a slew of cats as well as wild feral animals. Grey Gardens had become more than a somewhat hidden eye sore, it was officially a health hazard. They attracted unwanted attention from the media due to their connection to The Kennedy Family just before their County Health Department was about to condemn the property and evict both women. The media speculation was so intense that both Jackie Kennedy and her sister paid for the entire clean-up and repair of the house. Neither ever seemed to ever get over what they considered an attack by the media, but it Little Edie who seemed to be the most plagued with fear and paranoia.

Little Edie wearing 'the best costume for the day' and Big Edie frustrating over where in the hell she thinks she is!  Grey Gardens Albert & David Maysles, 1975

Little Edie wearing ‘the best costume for the day’ and Big Edie frustrating over where in the hell she thinks she is!
Grey Gardens
Albert & David Maysles, 1975

It has never been clear to me how The Maysles Brothers secured Big and Little Edies’ permission to film them, but they did. And the method of Direct Cinema for documentary gave these two amazing but deeply eccentric women the opportunity to freely share their history and opinions to the camera. Grey Gardens is profound in the way it captures the on-going love/hate shared between mother and daughter.

“You can’t have your cake and eat it, too in life.” Little Edie casually points out.
“Oh, yes, I did. I did, I had my cake, loved it, masticated it, chewed it and had everything I wanted.” Big Edie responds with pointed glee.

At turns hilarious, disturbing, haunting, sad, grotesque — it is impossible to not love these two women. And while both take deep joy in “hamming” it up for the Maysles cameras — the film captures devastating moments of self-awareness, regret and longing that grip the audience so tight it can never let go or forget the movie. While the film is certainly a documentary, it is also just as certainly confused about what is “true” and what is “fiction” — Grey Gardens is a mysterious film that is unrelenting in confusing “reality” with “distorted truth” and often the deception of “memory” tinged with the need to “alter” truths — not for the audience but for these two women. It is a complex, fragile and beautiful film that refuses to tell us the truth.

European and Asian countries have specific eras of like-minded film artist who have created films at the same time that have resulted in what are easily identified as cinematic waves.

Welcome to the beginning of La Nouvelle Vague. The 400 Blows,  François Truffaut, 1959. Cinematography | Henri Decaë

Welcome to the beginning of La Nouvelle Vague. The 400 Blows,
François Truffaut, 1959.
Cinematography | Henri Decaë

I’m unaware of any such occurrence in American Cinema. Aside from the Golden Era of Hollywood, I’m hard pressed to think of any American “waves” — our culture is too young and diverse. Once the old-school Hollywood studio system fell away there was a whole new generation of almost maverick-like filmmakers. But it seems that there was no singular shared voice at the same time. There was certainly a revolutionary shift in cinematic art starting in the mid 1960’s, but typically the American Film Artist tends to be somewhat of a loner. There are two American filmmakers and one American film that I want to highlight briefly because all three touch directly on depicting fictionalized reality or fictional narrative within an almost documentary-like approach. These two American Film Artists created two unique styles with two very different artistic motivations. And, then there is one film that really stands out and remains entrenched in my brain.

I don’t think anyone filmmaker can be named as “the best” or “the most influential” — art is far too subjective for that level of claim. That being said, the work left by Robert Altman is as relevant, interesting, provocative, experimental, unique and experimental today as it must have been when it was released. Some of his films fail. A few seem to get anchored in a sort of drug’d haze that alienates the viewer. But he made more than a couple of films which are true cinematic masterpieces. And when it comes to mixing ideas around reality with fiction, he was undisputedly a genius.

Largely credited with  reinvented the language of cinema, Robert Altman working with Julie Christie on the set of McCabe & Mrs. Miller in 1970. Photographer unknown to me.

Largely credited with reinvented the language of cinema, Robert Altman working with Julie Christie on the set of McCabe & Mrs. Miller in 1970. Photographer unknown to me.

In this sense the key work is 1975’s Nashville. It is essentially an epic study of American culture just before it hit it’s 200th birthday. While it might seem odd that he chose to capture a snapshot of America via The Nashville Music Industry, it was incredibly clever. Like most of Altman’s 1970’s work, all the actors are mic’d.  Unlike Altman’s prior work the actors are usually in filled spaces with non-actors.  Only a very select few of the actors actually knew when one of Paul Lohmann’s cameras are focused on them. They had lines, but were free to “riff” or alter lines if it felt more believable to do so. Those actors who were playing musicians or actual County & Western Stars were required to write or co-write their songs as wall as to play/sing them. And, as Altman was constantly changing ideas or re-writing scenes, it is my understanding that no one had a full screenplay of the film while it was being shot.

Long before we had access to cyber "search engines" like IMDB, viewers could easily mistake actor, Bill Jenkins, as a "real" Nashville TV reporter.  Nashville, Robert Altman, 1975 Cinematography | Paul Lohmann

Long before we had access to cyber “search engines” like IMDB, viewers could easily mistake actor, Bill Jenkins, as a “real” Nashville TV reporter.
Nashville,
Robert Altman, 1975
Cinematography | Paul Lohmann

When combined with Altman’s grim view of the state of American culture and it’s ever-growing obsession with fame — Altman was taking a big risk. Nashville could have easily been a meandering mess. Instead it is a darkly funny, insightful and disturbing film. Nashville does meander, but all of the subplots and characters are slowly working their way to a conclusion which remains a topic of controversy within the world of celebrity. Not that entities such as The Academy Awards should ever be given the level of ultimate cinematic valuation that it is often allowed, but it is likely the disquieting view of both “celebrity” and American culture which prevented Nashville from being honored as 1975’s best film.

As Altman’s cast intermingles with valid country musicians, non-actors and actors playing versions of themselves — this fictional film takes on a vibe that feels real. Nashville is filled with awkward, comic and disturbing moments inter-laced to create an uneasy tension. We forget that it is Laugh-In’s Lily Tomlin struggling with her duties as a wife, mother, desires and self-identity within cultural and societal pressures. When she allows herself to be seduced we are surprised in the discovery that she not only fully understands the Keith Carradine’s hollow vacancy, she is not bothered by it. The womanizing soon-to-be major recording artist seems as shocked as we are when this “truth” is passively revealed. “Tom” croons that he is “easy” but he is actually very difficult. It is here that Robert Altman and three actors push fictional moments into the realm of painful reality. This points to one of the many key reasons Nashville is so powerful. Altman films his epic like a documentary. It is an essential film and a classic example fiction merging into deeper truth than the viewer anticipates. The suspension of disbelief is not really so much as an audience choice but a clever manipulation to force it.  From the most superficial to the deepest core, Nashville is disconcertingly real.

Lily Tomlin's comic persona disappears as a conflicted wife becomes the focus of a musical lothario. She is not 'easy' in Nashville, Robert Altman.  Cinematography | Paul Lohmann

Lily Tomlin’s comic persona disappears as a conflicted wife becomes the focus of a musical lothario. She is not ‘easy’ in Nashville, Robert Altman.
Cinematography | Paul Lohmann

No one filmmaker has ever been better at blurring the lines of reality and fiction than John Cassavetes. It is my opinion that all true lovers of cinematic art holds at least one Cassavetes movie close to the heart. A Woman Under The Influence is the best example of a filmmaker’s motivation applied in what appears to be either a very loose improvisation of reality or an obscure documentary of a family in crisis. With hindsight we know that nothing about this film was improvised or real, but a viewer would have to be truly emotionally stunted not to find her/himself challenging those facts as this movie unspools. Gena Rowlands has earned a unique place within the world of cinematic acting — and, when carefully studied, it is impossible to name any actor or actress who displays such effective naturalized performance. I view that statement as fact. Rowlands has charisma, presence, natural grace, impossible beauty and an ability to merge identities into characters like no other. For 135 minutes, Gina Rowlands is Mabel and Mabel is Gina Rowlands.

"All of a sudden, I miss everyone..."  Gena Rowlands A Woman Under The Influence John Cassavetes, 1974.

“All of a sudden, I miss everyone…”
Gena Rowlands
A Woman Under The Influence
John Cassavetes, 1974.

In A Woman Under The Influence Cassavetes artistically approaches everything as simply and as minimally as possible. Rowland’s Mabel is car wreck waiting to happen. The late and criminally underrated, Peter Falk, is equally realistic Mabel’s confused and helpless husband. As Mabel’s emotional grounding becomes shakier with each passing moment, Peter Falk tackles the issue from every perspective he can find. When he turns to the equivalent of domestic abuse we are so unsettled that we barely have time to recover before their children jump in to protect their mom. When Mabel finally breaks, it is disorienting to determine if it Mabel or Rowlands having a nervous breakdown. The complexity and fragility of mental illness is almost too realistically articulated. It is terrifying to watch. Without any frame of context, Cassavetes’ cinéma vérité style could easily mistaken for a 1970’s documentary of a family coping and functioning through crisis. John Cassavetes was always very clear regarding his artistic motivation. His goal was to capture real love in film. It is at the heart of every film he ever made. He had no interest in vasolined-screened mush. He sought out the realities of love. His muse was his wife. Together, he almost always hit his mark. As dark and disturbing as A Woman gets, there are two things we know about Mabel and her husband: they are in love and they have each other’s backs no matter what challenges come their way.

Is it Mabel who is slipping into an emotional breaking point or is Gena Rowlands slipping with her?  A Woman Under the Influence, John Cassavetes, 1974.  Cinematography | Al Ruban

Is it Mabel who is slipping into an emotional breaking point or is Gena Rowlands slipping with her?
A Woman Under the Influence, John Cassavetes, 1974.
Cinematography | Al Ruban

Many cinephiles of my generation or older feel that the levels of Film Art which which these artists’ reached is no longer possible. This opinion is not true. A number of current film artists are even more strident in applying individual motivations which artistically merge truth with fiction than ever before. Independent Filmmaking has never been easy. Technology has provided tools and platforms that potentially allow anyone to make a movie. Too many movies are being made for film festivals to fairly evaluate what films get on their screens. And Film Critics are finding it impossible to actually review the number of films that manage to get distributed. he challenges of getting worthy art shown and distributed has never been harder. There are too many movies being made. And because anyone can make them it is a challenge to determine which independently funded films are worth the time to watch. Esteemed New York Times Film Critic, A.O. Scott sendt an email to Variety this year stating, “Because of the increasing volume of new films released each year, the Times is no longer able to guarantee reviews of all New York theatrical releases.” It is not hard to understand why The Times had to make this decision, but it doesn’t minimize the impact. A review from The New York Times can “make” or “break” a film artist’s career.

Looking at the challenge from another perspective,  I’ve never seen film artists approach a challenge with this creativity, tenacity, energy and devotion.  Unlike the late ’80’s/’90’s, the artist’s who seem to really succeed are the most devoted to their art. I find the drive and work of these new filmmakers incredibly powerful. I’m not a film critic. I just love cinema. But like many of my friends I had started to feel sad about the state of American Film in the year that actually gave us some amazing film. Pulp Fiction, Clerks, Ed Wood, Red, Muriel’s Wedding, Chungking Express and even Oliver Stone’s admittedly questionable but highly experimental Natural Born Killers — all came out in 1994. But in 1994 I started to note a shift in many of my peers perspective regarding films. This next remark is likely to earn me a number of angry emails, but I loathed Forrest Gump, Four Weddings and a Funeral, Interview with a Vampire and The Lion King. It was around this time that my closest friends begin to tell me I was a “movie snob”

"Epic in scope and triumphant in spirit!" or passively unconcerned solutions for PTSD riddled war veterans, marginalized people and protestors of War? Forrest Gump Robert Zemeckis, 1994

“Epic in scope and triumphant in spirit!” or passively unconcerned solutions for PTSD riddled war veterans, marginalized people and protestors of War? Forrest Gump
Robert Zemeckis, 1994

Skip forward a decade and I actually was afraid to tell people that I detested Paul Haggis’ Crash. I can remember a friend not speaking to me for over a year because of my opinion. This is particularly interesting because I’m not an aggressive person when it comes to my opinions. I have them, but I don’t expect everyone to agree with me. Sometimes I’m surprised when even one person agrees with me. So, I knew this movie was really a “hot” topic for white people. When I said that Haggis might be well-intentioned but the whole movie was so ham-fisted and too simplistic in resolutions that I felt insulted. I had a similar reaction when Jonathan Demme made Philadelphia over eleven years earlier. But in 1993 my “crowd” more or less agreed with me — or were at least willing to admit to the painfully “black and white” approach to only partially-formed characters. By the time every major film critic and the Academy Awards chose Thomas Langmann’s The Artist, which I hated, 2011’s best film, I seldom ventured to the cinema. The movies that were interesting me were harder to see on the screen. My two personal favorite films of 2011 were Steve McQueen’s Shame, Evan Glodell’s Bellflower and Lynne Ramsay’s We Need To Talk About Kevin. I was able to see two of these films on the big screen.

Living in San Francisco I was surprised when I was unaware of it having played here. I had to wait for it on blu-ray. When I suggested each of these movies to friends in West Virginia and Ohio, neither were able to find them screening in their areas. Interestingly, Terrence Malick’s Tree of Life screened in their areas. Maybe I was hoping for too much as I entered The Sundance Kabuki Cinema to watch Malick’s film. I’m not sure. I was entranced by Emmanuel Lubezki’s cinematography, but I was never actually engaged by the film itself. Both of these friends contacted me after they had seen it. They were excited and loved Tree of Life, but as I discussed it with each of them — I discovered that neither understood what they had seen. The fact that I found myself explaining it twice to two very intelligent people confirmed my assessment of the movie. My two pals were claiming to like the movie because so many of the critics liked it.

This can't be Clint Jordan, right? No, this has to be  Virgil Bliss, Joe Maggio, 2001. Cinematography | Harlan Bosmajian

This can’t be Clint Jordan, right? No, this has to be
Virgil Bliss, Joe Maggio, 2001.
Cinematography | Harlan Bosmajian

In my spare time, I’ve worked for film festivals. I’ve even served on the board of one that has become fairly influential. It was involvement with a Film Festival that offered me the opportunity to see two films before they had secured distribution and were released. The first was Joe Maggio’s Virgil Bliss starring Clint Jordan as the title character. I was hooked from the beginning to the end. Maggio’s film was a lo-fi character study of a recently paroled criminal who desperately wants to secure a stable life. I had never seen Clint Jordan play a character this complex. It didn’t even feel like I was watching a movie so much as some profane transmission from reality’s grimmest corner. A couple of years later I would see Debra Granik’s Down to the Bone, a brutally realistic story of parenting and addiction which featured an unforgettable Vera Farmiga. Granik and Farmiga pulled me into this horrifying world. Both of these films were intensely intimate and painfully “real” — I will never forget them. They did secure distribution but largely thanks to the DVD and streaming markets.

Vera Farmiga's performance as Irene takes on bleary and almost horrifying level of reality in Down to the Bone, Debra Granik, 2004. Cinematography | Michael McDonough

Vera Farmiga’s performance as Irene takes on bleary and almost horrifying level of reality in Down to the Bone, Debra Granik, 2004.
Cinematography | Michael McDonough

And, then I started hearing about Mumblecore. A term I still dislike as it seems more than a little pejorative. Joe Swanberg and Greta Gerwig were the first of the “Mumblecore Movement” I saw. Both of these artist are naturalistic actors, but most importantly they are filmmakers who have disarming ways of presenting intimate and relatable characters that often feel so real that you find yourself squirming in your seat. Early on the co-wrote and co-directed Night and Weekends. With no budget and a non-apologetic manner of presenting themselves as actors, their movie challenges the audience in determining which of the two characters are more vested in this relationship. When the two lovers eagerly disrobe and have sex, the absence of any pretense of eroticism and the immediacy of the two characters’ mutual desire makes the audience feel like ashamed. It is as if we are voyeuristically looking at something private. At some point, it is impossible to discern these two filmmakers from the characters that they are playing. Insightful, sad and real — The movie refuses to be dismissed. The same goes with Joe Swanberg’s previous film staring Gerwig, Hannah Takes The Stairs.

A young couple struggle with the challenges of a long distance relationship in Nights and Weekends, Greta Gerwig & Joe Swanberg, 2008. Cinematography | Matthias Grunsky & Benjamin Kasulke

A young couple struggle with the challenges of a long distance relationship in Nights and Weekends,
Greta Gerwig & Joe Swanberg, 2008.
Cinematography | Matthias Grunsky & Benjamin Kasulke

Both Greta Gerwig and Joe Swanberg have pursued their artistic goals with a vengeance. Not to be conceived as a criticism, but Gerwig seems more comfortable in moving in the higher powered/monied productions of Whit Stillman, Noah Baumbach and Woody Allen. Whether that is luck or successful networking, Greta Gerwig has firmly established herself as a unique actor and filmmaker. It would be impossible not to mention the work of Mark and Jay Duplass who have both managed to move comfortably into mainstream without selling out. The same is true for Lynn Shelton who has achieved a great deal of success. Ti West has also found a great deal of success in the horror genre. Michael Tully is another to emerge as a truly riveting filmmaker. Also of note are the works of Lawrence Michael Levine, Sophia Takal and Onur Tukel within the realms of comedy. Amy Seimetz is another incredibly amazing actor who has thus far made one film, Sun Don’t Shine, which was one of the best films of 2013. Aside from Seimetz’s skill as an actor, Kate Lyn Sheil is probably the second most valuable player as an actress.

Joe Swanberg’s interests in film seem to be more committed to remaining the chief architect of his work. His talent and skill are unquestionable, but it wasn’t until he was able to collaborate with Kent Osborne and make Uncle Kent that his strength was crystal clear. Osborne is well established in the world of animated film art. In Swanberg’s Uncle Kent, Kent Osborne is playing a version of himself which leaves a great deal of mystery for the audience. We have no way of knowing when we are seeing “truth” in fuzzy sort of staged way or in a sort of re-enactment. Osborne is so believable in this film that it is more than a little difficult to know if this is made up or a very slanted manipulation of reality. Either way, the film works incredibly well. Swanberg does not deviate from his deceptively loose and slow pacing. In Uncle Kent we see a successful LA Film Artist who, through a series of increasingly uncomfortable moments of self-awareness, must come to grips with the fact that not only is he getting older — he is now finding it difficult to fit in and relate to the friends who populate his world. And his world appears to be made up of working on adult-oriented but infantile comedic cartoons, doodling, surfing the Internet, participating in Online Roulette, getting stoned, petting his cat and hanging out with friends ten years his junior.

Kent Osborne, Jennifer Prediger explore sexuality with Josephine Decker in Uncle Kent, Joe Swanberg, 2011.

Kent Osborne, Jennifer Prediger explore sexuality with Josephine Decker in Uncle Kent, Joe Swanberg, 2011.

It is an entertaining but precisely executed examination of the formation of what will likely be a tough mid-life crisis. Another aspect of Uncle Kent that adds a great deal is the contributions of both fellow filmmakers and actors, Jennifer Prediger and Josephine Decker. Prediger plays Kate with a mix of humor and sadness. It is a surprisingly complex performance that catches the audience off-guard. She must be acting, but it never feels like acting. When Josephine Decker enters the film she brings a level of energy that Swanberg is able to use as a major catalyst for Kent. As most of us know, the erotic idea of a three-way usually quickly dissolves into awkwardness in which usually only two of three finds any real erotic pleasure. A three way is exciting in concept, but when placed into theory it is most often an unenjoyable realization of interpersonal dynamics that are better off unexplored. This is certainly the case in Swanberg’s three-way scene. It is a powerful moment in a surprisingly potent movie.

It is important to note that Jennifer Prediger has gone to make her own mark as a filmmaker collaborating with Jess Weixler to create the quirky, funny and unique look at friendship, Apartment Problems (or known to some as Trouble Dolls)  Actually, The Duplass Brothers, Lena Dunham and Alex Karpovsky are not the only artists to find success. Meanwhile Josephine Decker continues to act, perform and create in various challenging and interesting projects. But most importantly Decker has recently made two vitally important films as both director and writer. Both of her directorial feature length films, Butter on the Latch and Thou Wast Mild and Lovely are truly essential films Decker’s path as Film Artist seems to be headed toward a more experimental direction. Josephine Decker is an important Film Artist that I suspect will be leading us in some very interesting directions. With her second film, she actually surpassed Shane Carruth’s Upstream Color, which was my favorite film of 2013.  Another independent filmmaker to note is Patrick Brice whose recent collaboration with Mark Duplass, Creep, re-examines the ideas of “found footage” and “documentary” to amazing effect.

It's creepier than you expect. Mark Duplass in Creep, Patrick Brice, 2015

It’s creepier than you expect. Mark Duplass in Creep, Patrick Brice, 2015

In 80 minutes Brice/Duplass manage to deliver a movie that elevates the horror genre both intellectually and emotionally. On the surface, Creep is fun adult horror movie. It is long after the credits roll that the underlying power really “creeps” up. Sure, it’s only a horror movie. Now, keep telling yourself that as you realize that what you’ve just seen could not only happen — it most likely does.

I was a little late in learning about Kentucker Audley. A friend in NYC sent me a DVD of his first feature length film, Team Picture. Perhaps more than any of the other filmmakers to emerge under the term “Mumblecore”,  Audley shines out as the boldest Film Artist. Much like Herzog, Audley is very open about his motivation regarding filmmaking. He has described his approach as being almost autobiographical documentary. It is and it most likely isn’t. The vital importance of Team Picture is the almost lazy feeling Audley applies as the minimal story unfolds. After only about five minutes into this movie, you can sense that Audley is far more schooled in the art of film than his film wants to show. A quiet film, Kentucker Audley plays David. David should be in college or seriously pursuing a career. Instead he is happy just to hang out with friends, strum his guitar and sit outside be the kiddie pool he uses to cool off in the summer sun. Despite the slow pace and drifting conversations, there is an odd pulse at play with Team Picture.

"I guess you don't need any help with anything. That's cool." The line between reality and fiction feels partially erased in the passively crucial art of Team Picture, Kentucker Audley, 2007 Cinematography | Timothy Morton

“I guess you don’t need any help with anything. That’s cool.” The line between reality and fiction feels partially erased in the passively crucial art of Team Picture,
Kentucker Audley, 2007
Cinematography | Timothy Morton

When Audley’s David decides to move on to another town it seems without any clear direction or purpose. However, we gain a gradual perspective into David’s life that reveals a childhood that offered him no clear paths to bonding with a male figure as well as a distinct level of confusion regarding his identity. A creeping sense that David’s environment and childhood have almost set him up. His expectations in life are muted. He is not a team player, but he has a confused need to somehow fit into the team if only for the purpose of momentary capture of belonging to something. Of the recent films to achieve a realism that feels more “true” than “fiction” — this might be the most powerful film.

In addition to being an important voice in modern film, Audley is an exceptional effective actor. I suspect his acting roles are how he funds his filmmaking work. But he will soon be seen in two important independent films: Jason Banker’s Felt and Alison Bagnall’s Funny Bunny. Audley has also positioned himself as vital member of the American Independent Film Artist World with his passionate approach to protecting the rights of individuality in Film Art with the creation of the user-friendly web site, NoBudge. He accepts submissions from indie-filmmakers and curates them on the site for free viewing and feedback. These are both feature-length and short films that might not hold the “commercial” accessibility required for film festivals and the increasingly powerful role of Aggregators to negotiate for independent films to be available for purchase/rental on digital media sites such as iTunes or AmazonPrime. But that certainly does not mean that they have a great deal to offer.

Check out NoBudge: http://nobudge.com

It was on Audley’s NoBudge site that I “discovered” Brandon Colvin. Colvin’s Sabbatical is a beautifully-rendered exploration of a man in crisis that adheres rigidly to Formalist Style. Colvin not only succeeds, he exceeds what one expects to find in a low budget film. Nothing about Sabbatical looks low budget. Sadly, Brandon Colvin’s masterful film is failing to secure distribution and an aggregator because Sabbatical does not “fit” or “conform” to the current ideas around what is commercial and what isn’t.

You can find out more about Sabbatical which also stars Robert Longstreet. An actor who so many of us admire. People are missing an amazing experience.

sabbatical-mossgarden.com

Eleonore Hendricks and Kentucker Audley try to fit into some part their culture's frame in  Bad Fever, Dustin Guy Defa, 2012.  Cinematography | Mike Gioulakis

Eleonore Hendricks and Kentucker Audley try to fit into some part their culture’s frame in
Bad Fever, Dustin Guy Defa, 2012.
Cinematography | Mike Gioulakis

Dustin Guy Defa’s Bad Fever is another crucial film within the context of modern American Film Art. Kentucker Audley’s turn as a misfit and wanna-be comedian is more than just awkward and anxiety-inducing — it is tragic. Eleonore Hendricks plays Irene who quickly becomes Edie’s obsession. His desperation for her love is not only misplaced, it is inappropriate. Even within the context of Irene’s world, Edie’s presence is too worrying. Dustin Guy Defa’s experimental film delivers a constant stream of frustrated uncomfortable confusion hinged with potential violence. Nothing about this ver low budget film “feels” like acting.

Walter Bakes creates a beautiful music with only a rubberband as he wanders through the ever-changing landscape of Brooklyn and the calm-wild of Texas. An artists' existential search and crisis that seems to require he pull his wife and child with him along the way. An uncertain future in A Rubberband Is An Unlikely Instrument, Matt Boyd.  Cinematography | 2011

Walter Bakes creates a beautiful music with only a rubberband as he wanders through the ever-changing landscape of Brooklyn and the calm-wild of Texas. An artists’ existential search and crisis that seems to require he pull his wife and child with him along the way. An uncertain future in A Rubberband Is An Unlikely Instrument, Matt Boyd.
Cinematography | 2011

Matt Boyd seems to be approaching documentary film with a style that is somewhere between the accepted notion of what documenting reality and The Maysles Brother’s type of Direct Cinema that leave the audience wondering when what we are seeing is real or possibly staged. His study of marginalized musician, Walter Bakes, and his family in A Rubberband Is An Unlikely Instrument is a challenging but rewarding examination of decay and self-absorbtion. It does not hedge from showing the warts and all of its subject but it never feels judgmental or exploitive. Matt Boyd is heading to an interesting career.

And as I come to the end of this rambling post, Rick Alverson must be mentioned. Along with Kentucker Audley, Alverson may be the most interesting Film Artist who is unrelenting in his pursuit of cinematic truth. Rick Alverson is far more concerned with style than Audley. This may end up being Alverson’s greatest challenge as filmmaker. His stylistic impulses sometimes appear to be at odds with the more immediate concerns just below the sensitive skin of his films. All the same, Alverson is building an amazing body of work. Best know for his 2012 film, The Comedy, which received a great deal of attention at the time of its release. It was praised and dismissed in equal measure. One of the dismissals came from my personal favorite Film Critic, A.O. Scott who caught me off guard when he was so frustrated by Alverson’s movie that he felt the need to attack those of us who saw the merit in it. According to A.O. Scott if I find any “critical distance” or “interesting perspective” in Alverson’s The Comedy — then I am the butt of Alverson’s joke. I do not know Rick Alverson and I have not ever read an interview with him. I only am aware of him by his work. Alverson was not joking with The Comedy. Alverson presents a level of white male entitlement and human cruelty without offering any evaluation or background. Thanks to an amazing cast of effective actors, all we really need to know is passively communicated in the sad eyes and pointless actions. We might not like the main character or any of his friends, but viewers would need to be equally emotionally-stunted, damaged and as casually cruel as these characters to not see the tragic darkness which Alverson masterfully examines.

Doing his very best to push past what appears to be depression or something worse, Colm O'Leary slowly begins to construct his perception of an American home in The Builder, Rick Alverson, 2010

Doing his very best to push past what appears to be depression or something worse, Colm O’Leary slowly begins to construct his perception of an American home in The Builder, Rick Alverson, 2010

In The Builder, Alverson’s first feature which was made in 2009 and very limited released 201o — he collaborates with Colm O’Leary to create a very realistic study of an immigrant who attempts to pursue construction of his American dream house. O’Leary has a strong presence, but is allowed very little to say. The film is a bleak depiction of a man fighting through a depression in pursuit of something that seems to be failed abstraction of something deeper he can’t obtain. While the film offers viewers too little information to fully encage, it carries a power that is hard to forget. It feels like a film from an alternate universe of 1970’s American Filmmaking. We don’t understand this builder, but he feels far too real and familiar to forget.

Colm O'Leary and Will Oldham attempt to form a friendship for what appears to be two very different reasons.  New Jerusalem, Rick Alverson, 2011

Colm O’Leary and Will Oldham attempt to form a friendship for what appears to be two very different reasons.
New Jerusalem, Rick Alverson, 2011

In Rick Alverson’s New Jerusalem we are given more insight into the two men we follow. New Jerusalem touches on everything from faith to immigration to PTSD but it only barely touches this topics and themes. Alverson’s motivation is to explore an uneasy connection that begins to form between two men. This uncomfortable look at male bonding provides challenging ideas regarding the needs of male bonding. Ultimately, the viewer is never clear on why these two characters put up with each other. Aversion is not interested in resolving the tension and conflict. His goal is bring the reality of it to the audience.

New Jerusalem  Rick Alverson, 2011

New Jerusalem
Rick Alverson, 2011

The conclusion is left to us. The merging of “truth” and “fiction” will not always result in something simply entertaining and satisfying. Most often true art forces us to look at our own reflection and projections. Being able to fully understand the difference between real and fake is not always an asset. Most of human life is spent putting on one mask and quickly replacing it with another as we navigate our way through life. Not all of us want to escape from reality. Some of us want more from art than escape. I want to gain perspectives regarding the complexities and challenges of life. Like everyone, I want to know I’m not alone.

Little Edie notes the confusion of time, so do The Maysles Brothers artfully allow the confusion of truth.  As the groundbreaking documentary was released over 40 years ago, it remains valid Film Art. Grey Gardens, Albert Maysles & David Maysles, 1975.

Little Edie notes the confusion of time, so do The Maysles Brothers artfully allow the confusion of truth. As the groundbreaking documentary was released over 40 years ago, it remains valid Film Art. Grey Gardens,
Albert Maysles & David Maysles, 1975.

“It’s very difficult to keep the line between the past and the present. You know what I mean? It’s awfully difficult.” – Edith ‘Little Edie’ Bouvier Beale

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.

http://nobudge.com

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.

http://sabbatical-mossgarden.com

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.

http://www.theartofdismantling.com/2012/03/26/fight-rape-culture-with-art/

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. 

 

As the digital age is allowing anyone with a camera to be a “filmmaker” it is becoming more challenging for true film artists to find ways to get their work seen. This has required many talented filmmakers to pursue the more audience-friendly genres of horror, rom-com and the most dangerous choice of coming of age chronicles.The restrictions of user-friendly movie genres seems not only an unlikely prospect but an impossible option for the filmmaker who emerges from this quiet but revelatory movie. The challenge that Brandon Colvin ran into was a clear way to get the film screened.  Largely by sheer creative will and a year’s worth of fellow filmmaker’s commentary, Sabbatical has finely found its path to audience.

Sabbatical, 2014. A film by Brandon Colvin. Poster Design by Jenni Dickens

Sabbatical, 2014. A film by Brandon Colvin. Poster Design by Jenni Dickens

The plot is deceptively simple: A college professor takes a sabbatical to return to his childhood home less to focus on a new book and far more to provide assistance to his fragile mother who recently suffered a stroke. When he returns his forced to figure out how to “re-connect” not only to his family, former lover and friends but to the very core of his identity.

Robert Longstreet as Ben in  Sabbatical

Robert Longstreet as Ben in Sabbatical

The important cinematic elements here have little to do with the actual “story” but far more within the way Brandon Colvin so brilliantly “tells” it. This challenging aspect of Colvin’s film is what makes it so very important. Not to deny the emotional power the film carries, but this is really more of an intensely effective study in Formalist Film Theory and Philosophy than a movie concerned with narrative. Colvin makes masterful use of Aaron Granat’s exceptional cinematography, set design, colors, pacing and literal perspective to communicate the complexities of universal human challenges. Colvin clearly has a visionary eye, but he has aligned himself with a group of deeply gifted artist. Tony Oswald’s work as the film’s editor is in perfect tandem with the filmmaker’s devotion to presenting emotion, tone and though a pace with true purpose.

Kentucker Audley, Rebecca Koon and Robert Longstreet at dinner. Eric Enstrom's Grace painting looming over their attempt at connection. In Brandon Colvin's Sabbatical.

Kentucker Audley, Rebecca Koon and Robert Longstreet at dinner. Eric Enstrom’s Grace painting looming over their attempt at connection. In Brandon Colvin’s Sabbatical.

Despite his shoestring budget, he has made an extraordinary and masterful work. His cast seems not to only understand the rigid framework in which they most perform but nothing feels labored in performances that often edge close to an almost Avant-Garde minimal approach. Robert Longstreet is one of the most under-valued actors working in film. He is able to convey more with the most casual use of his physicality and tone of voice better than most of the highly regarded film actors of the day. Rebecca Koon, Kentucker Audley and Thomas Jay Ryan are all exceptional in their abilities to fit into Colvin’s vision with ease. But it is Rhoda Griffis who is given the most challenging role as Ben’s former lover. Like Longstreet she has the presence and charisma of movie star. Most importantly, she finds a way to firmly establish her character who functions not only as our protagonist’s erotic desire, but also the only person he encounters who is actually trying to connect with him. She becomes a sort of Existential Mirror for Ben.

Rhoda Griffis, Kentucker Audley and the amazing Robert Longstreet in Sabbatical.

Rhoda Griffis, Kentucker Audley and the amazing Robert Longstreet in Sabbatical.

In one of the film’s most important scenes, Griffis reads a bit of Ben’s writing aloud. It is as much the manner in which she uses her voice with a weary sort of challenge as it is the content of the writing that we know she sees through Ben’s Kierkegaard/Nietzschean posing. But,that does not change the fact that Colvin has crafted a film the cinephiles and philosophy lovers will savor from beginning to end. While SABBATICAL is clearly a cinematically referential film — every one from Bresson and Bergman to the more obscure stylings of Jost and Hollis Frampton immediately came to my mind — It is crucial to point out that Brandon Colvin is not mimicking, stealing or even borrowing from these great artists’ work. The concept of the other artists’ work serves merely as jumping point to create a stylistic exploration that is completely unique. And, the though provoking use of the word, “sabbatical” consistently caused the viewer to re-evaluate what it really means. Is Ben’s return a break to grow? To focus on work? To help his mother? To reconnect to his past? Or, is this a sort of cease? And, if this is a ceasing — is it achieving identity-related conclusion. Or is Ben actually stopping? If so, what does that imply?

Rebecca Koon as Elizabeth in Sabbatical

Rebecca Koon as Elizabeth in Sabbatical

There is no hand-holding for the audience here. This is a challenging film art. It thrills me to discover an American Independent Filmmaker who is not only talented enough but brave enough to create a film like SABBATICAL. We don’t often have the objectivity and ability to fully evaluate the future impact of a movie. But I am fairly certain that Brandon Colvin has made a film the comes as close to being a cinematic masterpiece. The last times I can remember feeling I was seeing a movie this unique was when I snuck into a screening of RAGING BULL and a few years later accidentally stepped into a screening of BLUE VELVET. This film has no connection to those two iconic movies other than it carries just as much innovation and unsettling power in surprising new ways.

Thomas Jay Ryan and Robert Longstreet as two friends uncomfortably re-connect in Sabbatical

Thomas Jay Ryan and Robert Longstreet as two friends uncomfortably re-connect in Sabbatical

All the more impressive, Brando Colvin achieves with a micro budget and within 72 minutes what very few filmmakers manage even with $400,000,000, 3 hours and our culture’s bland A List movie stars. As SABBATICAL reaches conclusion, the potency of what has been so artistically presented comes to the audience like breath of new air. A few hours later, I realized that Colvin had managed to do more the deliver a potent movie — he had gut-punched me so quickly that I didn’t  feel the pain until a few hours later. SABBATICAL is a film so clever and intelligent it demands your attention. Unforgettable.

Robert Longstreet in Brandon Colvin's Sabbatical

Robert Longstreet in Brandon Colvin’s Sabbatical

For more insight, and viewing options please follow the link below.

http://sabbatical-mossgarden.com