Movie City Indie Archive for July, 2016

Pride, Unprejudiced: Almost There

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I’ve seen Almost There, Aaron Wickenden and Dan Rybicky’s splendid, elusive minor miracle of northwest Indiana nonfiction a few times in the past year or so, and I’m still not sure why it carries so much power. That it’s specific yet elusive, its dense range of fear and hope? There’s much to consider about outsider art, loneliness, mental illness and brightly colored graphomania in its innerworldly portrait of now-eighty-three-year-old Peter Anton, an elderly artist living in squalor in the wet, fetid basement of his parents’ house, moldering atop his art-stuffed living-dying quarters. There’s a delicate and beautiful dance in this seven-years-in-the-making engagement with an elderly Northwest Indiana outsider artist. The movie transforms before our eyes, as it did for the filmmakers over its protraction production. One of the most luminous, evocative choices made was to incorporate images not only of Anton amid his art inside his moldering dump, but of the surrounding landscape, often industrial, at all hours of day and night (captured by photographer David Schalliol). But primarily, it’s a dance between a willful subject and filmmakers who intend not to stray too close but ultimately can’t help themselves. Anton lives not only in poverty, but also in squalor, in a falling-down house left to him by his parents, and the ethical question of how involved the filmmakers ought to be, in light of his circumstances, grows uneasy. ‘I’m not your subject,’ Anton bursts out at one point, ‘I thought you were my friend.’” [More here, including on Schalliol’s techniques.]

Almost There plays through July on PBS stations nationwide.

Two Poems From Kiarostami’s “A Wolf Lying In Wait”

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The full moon
reflected in water,
the water
contained in the bowl,
and the thirsty man
deep in sleep.

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What a pity
I was not a good host
for the snowflake
that settled on my eyelid.

Via.

UA: The Company We Keep (12/6/78)

Cme4bxXXEAMbdeAClick until largest size. [Via Sean Howe.]

Hal Hartley’s Got A Sale

Hal

Three offers, each $9.99 (with free shipping), while they last (U.S. only):

Three DVDs: – Ned Rifle; Meanwhile; and The Unbelievable Truth: 20th Anniversary Edition 

Five Soundtrack CDsNed RifleMeanwhileFay Grim; The Book Of LifeHenry Fool 

Ned Rifle Pack: Ned Rifle DVD, scenario, soundtrack and t-shirt.

Beginnings… And Endings: Michael Cimino

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[The Deer Hunter, Shooting Draft, 1978; Heaven’s Gate, undated.]

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Trailering Albert Brooks’ Real Life (2’59”)

With Brooks’ back catalog landing on Netflix today (for those too mean to own them), a short film in its own right for his 1979 first feature.

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Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch