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My Favorite Films of 2015 Thus Far

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

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

I’ve never noted so many “horror” films to make my list.
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.
The voice of women is most notably strong in my current list. This is wicked cool!
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.
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.
These are just my personal favorite films thus far. No reason to get upset with me.
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.
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

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.
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.
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

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.
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

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

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:

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
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
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

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

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

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.
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

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.
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

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.
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

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.
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.
Reality | Quentin Dupieux’s latest film remains tied to Surrealism and Absurdism.
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.
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.
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

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

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

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

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

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

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

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

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

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

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

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

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

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

Matty Stanfield, 9.8.15

Loves Her Gun: The Power of Independent Film or The Toll of the Flippant Film Critic

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

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

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

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…

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

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

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

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

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

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

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

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!

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

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

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.

SABBATICAL : The Power of Film Art

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

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

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.

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.

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

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

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

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

http://sabbatical-mossgarden.com