Dec 012011
 

Chris Milk’s “The Wilderness Downtown” is an interactive play where your home and past are offered and yet remain out of reach. The film requires a few more steps before your viewing pleasure: if you don’t have Google Chrome or Safari as a browser, please download one of them to view this experimental and interactive film. And I would suggest, for this week, reading this commentary as an afterword. Let your experience of the interactive film come before mine.

Two weeks ago Numero Cinq Magazine‘s “At the Movies” presented Milk’s music video for the Gnarls Barkley song “Who’s Gonna Save My Soul.” But Milk also does experimental work. “The Wilderness Downtown” is an interactive music video Milk made with the band Arcade Fire for their song “We Used to Wait.” To begin you have to enter the address of your childhood home. The video then develops a montage using images of a hooded, faceless man running, a flock of birds, and images it pulls from Google Earth of your childhood home. The resulting film hangs in multiple windows, creating a hybrid montage / collage. Montage usually relies on one image following another and collage implies something static; here we have the collisions of montage happening side by side and the effect, I’d argue, shares the randomness of dream logic, a narrative choice that encourages us to be more associative than strictly interpretive, calling up our own memories rather than seeking to understand the artist’s intention.

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Nov 242011
 

John Bolton’s “Breakdown” is both a study in economy – doing much with little — and in the joy of having fun. It features a who’s who of working actors in Vancouver. They all came out to have fun, and for many of them, I’d suggest, make fun of the high stakes melodrama many Vancouver shot TV shows and movies specialize in.

The tagline for the film is “A disaster film disaster.” Perfect. The tropes of the disaster film have basically become self-parodic in films like 2012 and The Day After Tomorrow: where the world conspires to bring a broken family back together. It’s a tired formula, unwatchable. Bolton and his crew show us how tired the conventions are as they manage to shoot the major plot points and character development all in under fourteen minutes in a casting room.

It’s a beautiful disaster and strangely cathartic if you’ve been harboring low-level anger towards Hollywood disaster films the way I have.

Part of Vancouver, BC’s 2006 Crazy 8 Competition, Bolton and his team along with seven other teams were given eight hundred dollars to produce their short film. This year Crazy 8s enters its thirteenth year of supporting and challenging Vancouver filmmakers to make great short films.

The film stars Christopher Shyer, Amanda Tapping, Carly McKillip, Winston Rekert, Sonya Salomaa, Gary Chalk, William S. Taylor and Michael Coleman as themselves (in a way).

—R. W. Gray

Nov 172011
 

Gnarls Barkley – Who's Gonna Save My Soul from Chris Milk on Vimeo.

Chris Milk’s music video for Gnarls Barkley’s “Who’s Gonna Save My Soul” starts laden with clichés: “I need space,” the woman tells the man she’s breaking up with. It’s a painful juxtaposition, a broken heart brutalized by empty words said in quotations, stolen from a thousand movies. This made me think of the narrator of Jeanette Winterson‘s Written on the Body and his / her (it’s ambiguous) lament “‘I love you’ is always a quotation.” Apparently ‘I don’t love you’ is too.

What draws me in with this video is not the surreal turn, but how it changes the break up. How by ripping his heart out and giving it to her, they suddenly speak with lucid honesty, devoid of cliché. Once the heart is on the table, literally, truth is all that’s tenable. The sentiment is not original, but the expression of it is.

Perhaps the culmination of this is the end of the film, as the story turns in on itself and the heart rips out its own heart, the story comes full circle and ends without words, a monstrous ending beyond quotations of any sort.

The heart, though singing, maintains its abject messy self throughout. It’s what prevents the story from lapsing into cartoony sentiment. Its bloody footprints, unsightly arteries. We see all this from the frame of the knowing sympathetic and pained look of the waitress, as though she’s saying ‘I know your pain, I know your abject, messy pathetic heart. I know this song, because it’s mine too.’

Milk, in an interview with Globecat, describes the inspiration for the video:

“It stems mostly out of the personal experiences I’ve had in relationships. I’m more drawn to these sort of stories and would love to tell them more often. Dark, comedic, surreal, this is the type of material I respond to in features, and it’s the kind of music videos I love to write. I’ve actually written a lot more of these but they’ve never been produced. Some of my favorite Kanye videos are sitting in a notebook and will never happen. This Gnarls video I’ve pitched to 3 or 4 bands over the years. I’m actually glad they all said no because I think it was predestined to happen with this song. The emotion and musical tonality line up too perfectly. It had to be this track. As far as the “take away” I don’t really like to think in those terms. All I can do is make something I personally find compelling, put it out there, and maybe it works for other people. I’ve certainly had occasions when it hasn’t worked for anyone. My ex-girlfriend for instance did not care for this Gnarls video at all.”

Milk is a prolific music video and commercial director who also has his hand in experimental filmmaking. In next week’s NC at the movies I will be looking at a couple of his experimental titles.

— RWGray

Nov 102011
 

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Julie Trimingham’s film triptych “beauty crowds me”

Introduced by R. W. Gray

 

In Julie Trimingham‘s triptych of poetic short films, words become breath and thought, visuals flare into being, fall away, then return and hang and haunt. The films take Emily Dickinson’s poems as their source for inspiration, but the words are given to us as an intimate voice over, repetitively and meditatively delivered.

I have to confess a sort of skepticism about the clash / collaboration between art forms; such collisions seem to colossally fail more than find beauty. In particular, the danger of bringing film to poetry is that the moving image can easily literalize the words, or, conversely, the words can dominate the visual medium. Trimingham’s collisions work for me because they aren’t too grounded in one form or another.

The action is poetic, and by that I mean improbable, unrealistic, yet familiar. In “I heard a fly buzz,” the second film, the claustrophobic dance of the couple who can never leave their apartment, their bed, the tub, and their movements choreographed, both uncanny (in moments he seems like a fly on the window sill or on the tub) and sublime.

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Nov 032011
 

I Love Sarah Jane from Qoob TV on Vimeo.

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Spencer Susser’s I Love Sarah Jane

Introduced by R. W. Gray

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In this special post-Halloween edition of Numéro Cinq at the movies, we’re featuring “I Love Sarah Jane” by Spencer Susser. Viewer warning: there’s some gore here, but the originality of the story makes it worth it.

I’m not a zombie fan by trade, but have come to appreciate the genre because of its apocalyptic questioning of who we really are under our (sometimes few) civilized masks and what really matters to us when the those masks fall away.

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Oct 272011
 

Mamá (2008 Spanish short film) from Pablo Sierra on Vimeo.

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.In this Halloween edition of Numéro Cinq at the Movies, we have Andres Muschietti’s Mama (2008). Turn the lights out, turn the sound up, put some headsets on, and enjoy.

The plot is simple and yet leaves gobs of story unexplored, haunting the plot we do get: two children are tormented by a terrifying mother; we never find out the origins of this terror and we don’t find out what becomes of the children. This tip of the iceberg approach to storytelling gives the piece a depth that makes it even more terrifying for all the unimaginable horrors we are left to imagine.

What’s scary here is firstly archetypal and secondly uncanny. Mama is the archetypal bad mother that lurks behind the good mother archetype, waiting to consume, torment, and dismember instead of nurture. Like the one daughter, we are drawn to the figure of Mama, because she promises to fulfill the maternal role, but soon we understand their trepidation. This mother is not up for baking cookies.

She’s also uncanny here thanks to a couple of very successful horror techniques. Mama, though human in form and thus familiar, is unfamiliar because of her movements. The head tilted to the side, the contorting, jerking motions of her limbs and the speed of her movements are all unfamiliar. Similar effects were used in the horror film the The Ring when the monstrous young girl climbs out of the television. To achieve this effect they shot the actress in reverse with exaggerated movements so that when they played the footage forward her gestures seemed insect like and inhuman. This is Freud’s Uncanny: both familiar and unfamiliar and disturbing all around.

When this short film came out three years ago it created so much of a buzz that Mexican director Guillermo Del Toro – known for his popular Hellboy type fare and his more art house type horror films like Pan’s Labyrinth – decided to take Muschietti under his producing / mentoring wing and turn the film into a feature-length terror. Del Toro similarly mentored / produced the The Orphanage (2007).

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Oct 132011
 

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Warning: this video contains suggestive animations of fruit, human sacrifice, and some coarse language. “The Island” is a short film by Trevor Anderson, a filmmaker from Edmonton, Alberta, Canada. Anderson is a self-taught independent filmmaker who is currently in post-production on his tenth short film. His work has screened at countless film festivals around the world, including Sundance, Berlin and Toronto.

I saw “The Island” accidentally the first time, then realized I knew the filmmaker. Once upon a time, we both lived in the basements of lesbian professors in Edmonton. We were an exclusive subculture immortalized in a line from a non-fiction piece by Janice Williamson: “gay boys who live in the basements of dyke professors and wonder about the status quo.”

“The Island” for me is carnivalesque in that Rabelaisian sense of being both outrageous and intolerant of hypocrisy which means here being intolerant of intolerance. The film begins plainly enough in the hinterlands, one man walking against a blank canvas of snow, the starkness of the landscape emphasizing the stark hatred in the “fan mail” the narrator receives. What follows is simply beauty made from ugliness, a massive flight of fancy that describes a utopia of tolerance and celebration and freedom.

The last line troubles things with one of those perfect tugs on the tablecloth. Like Anderson believes too much in an interdependent and connected humanity, one that even includes the ignorant and intolerant, to move permanently to this Rabelaisian island.

At the Hot Docs International Documentary Festival, Anderson won the inaugural Lindalee Tracey Award, presented to “an emerging Canadian filmmaker working with passion, humour, a strong sense of social justice and a personal point of view.”

If you like Anderson’s style of autobiodoc filmmaking (a term I’m trying to put into common usage so please pass it on), then please check out the trailer for his last film, “The High Level Bridge” (and if you’re enticed pay the $1.99 to download the full film and support this indie filmmaker). “The High Level Bridge” is a short meditation on the untold history of suicides off of Edmonton’s High Level bridge and concludes with Anderson dropping his camera off the bridge into the icy water below.

Trailer:

Purchase the film at Trevor Anderson: Dirty City Films.

“The High Level Bridge” was  selected for the Sundance Institute’s Art House Project. From Anderson’s website: “In 2005, the Art House Project was created to celebrate the 25th Anniversary of Sundance Institute and pay tribute to art house theatres across the USA. Twelve art house theatres from around the country were designated and united as Sundance Institute Art House Project theatres. In 2006, a Sundance Institute 25th Anniversary retrospective series was made available for each of the theatres to show in their local communities. The Sundance Institute Art House Project has since grown to a total of 17 participating theatres nationwide and continues its commitment to expanding the reach of independent cinema across America.”

—RWGray

Oct 062011
 

[vimeo]http://vimeo.com/6715502[/vimeo].

At the core of Miranda July (writer) and Miguel Arteta’s (director) short film “Are You the Favorite Person of Anybody?” is the title question. It is repeatedly asked by a man standing on a street corner (John C. Reilly) to strangers who pass by, but we never find out why he’s asking the question or what he intends to do with the information he collects. All we know about him is that he has a burning question, three orange trees, and a wife trying to get rid of oranges. None of this matters. The question’s profundity disarms and obscures all else.

That burning question supersedes the simplicity of the film, supersedes the film itself in the way the it poses the question to the audience, too. The youtubification of this film led to a spate of vloggers asking themselves and others the same question in a sort of viral existential awakening, or, at times, mass despair. Certainly, though, the question hails us if we dare to let it. Are you the favorite person of anybody? It’s difficult not to get caught in the musical chairs of the query. And won’t most of us end up on the floor?

But to dwell on the question this way is perhaps to identify too strongly with Miranda July’s character. Mike White’s character doesn’t seem compelled or bothered. He has no delusions of grandeur, but does have a girlfriend and is bringing her an orange or two – he leaves almost elated.  So what of the oranges? On a certain level, the film seems too simple to contain metaphor. But then there are oranges. Are they consolation? Are they payment for pain inflicted, or are they the very point of existence? Much depends on a bag of oranges.

What intrigues me here more though is the intimate story around the story.  How Miranda July had just finished shooting Me and You and Everyone We Know and had nothing to do until the editor came back with a rough cut – a peculiar waiting. So she wrote these sketches. Showed them to Arteta who she was dating at the time. Arteta rushed them to shoot and cast July, Mike White (the writer of Chuck & Buck, which Arteta directed) and Chuy Chavez (July’s DP on Me and You and Everyone We Know).

Arteta, in an interview in Wholphin confesses what the script meant to him:  “When I read it, it hit me hard for the first time: I wasn’t going to be [July’s] favorite person for too much longer. I was having doubts about us and the script felt like a warning . . .  I said ‘Let’s shoot this, right away’ – knowing that working together was something I would always cherish”

In her Wholphin interview, July confesses she was excited to just act. It was something she committed herself to so strongly that when she walked away from John C. Reilly, exiting her scene with him, and no one called cut, she just kept on walking. “I walked practically to the next neighborhood before anyone noticed I was gone.”  These are the interstitial stories I believe imbue films.

After the death of French filmmaker Jacques Demy and the decaying of the prints of his early film Umbrellas of Cherbourg, his filmmaker wife Agnes Varda oversaw the re-colorization of the film. The result is lurid, gaudy, and gorgeous. Walls aren’t just walls, they leap out in shades of eggplant and lime. Varda was ostensibly realizing Demy’s original vision for the film’s color, but there’s something else that imbues the film. Call me overly romantic but I read each color, each frame, as part of a love letter to her deceased husband.

What imbues “Are You the Favorite Person of Anybody?” for me is the tension between July’s never ending take where she walks off the set and away. . . and Arteta’s manic intent to make the film and collaborate while they still had time. A letting go and a holding on. This bittersweetness stains the film for me.

Romanticism aside, this is simply a film I wish I’d made. With one location and only four actors this is one of the simplest short films I’ve seen. Made for  $150 (for apparently coffee, bagels, tape and a transfer to HD), the simple style and simple content let the film’s principle dramatic question do the work.

The film appears in Issue #1 of Wholphin, the McSweeney‘s DVD magazine, available here:

http://store.mcsweeneys.net/index.cfm/fuseaction/catalog.list/object_id/4F541504-D8B3-44BE-9DAC-32B0B4554215/Wholphin.cfm

In their own words:

“Wholphin is a quarterly DVD magazine featuring short films, documentaries, animation, and instructional videos that have not, for whatever reason, found wide release. Recent issues of Wholphin have included films by Spike Jonze, David O. Russell, Miranda July, Miguel Arteta, Errol Morris, and Steven Soderbergh, and performances from John C. Reilly, Selma Blair, Patton Oswalt, Andy Richter, a monkey-faced eel, and many others.”

—RWGray

Sep 292011
 

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[youtube]http://www.youtube.com/watch?v=P8dF2fmb5rY[/youtube]
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From last week’s collision in an intersection to this week’s collection of small caught moments in Jane Campion’s series of shorts, Passionless Moments (1983). The series is made up of ten short films co-written by Campion’s then boyfriend Gerard Lee and is narrated by a BBC-type narrator giving the films a scientific or sociological flair (further emphasizing in a perhaps misleading or ironic fashion the importance of these moments). There is, in these shorts, a fetishization of minutiae. Each is smaller and less dramatic than the collision in And the Red Man Went Green. And these are “real” people, flawed and vulnerable; they do not anticipate the camera’s gaze. We catch them at their most vulnerable and unawares.

Taken individually, I feel these are moments that read you back: what small details of our lives have escaped film’s classical three-act structure and drive for catharsis? As Geraldine Bloustien points out in her essay “Jane Campion:Memory, Motif, and Music,” “Classical Hollywood cinema concerns itself with the heightened moments of passion of individuals with whom we identify in some way because of their bravery, humour, innocence, heroic qualities and so on. In traditional feature films and documentaries we are usually introduced to the characters’ backgrounds, motives and problems. However, in Passionless Moments the characters serve only to illustrate some quirky aspect of human nature and relationships.”

These moments cumulatively tempt me to universalize: that it might be the minutiae and /or our “quirky” aspects that connect us to one another, a humanity found in the small, quiet, sometimes embarrassing moments. Though in the actions of Campion’s characters it is difficult not to see something vaguely heroic. I am embarrassed for the boy named Lyndsay Aldridge, his explosive string beans, and his manic running, but I admire his commitment too. I recognize myself in him and don’t want to at the same time. Campion’s oevre is made up of such characters, from her exploration of the author Janet Frame in An Angel at My Table, to the complicated relationship at the core of Holy Smoke.

I have to confess that the title of the series confuses me. Are these moments truly passionless? Or is the title ironic? Passionless as in lacking suffering? Or passionless as in suggesting disengagement? In a sense it reminds me of Roland Barthes’s A Lover’s Discourse, an at time dispassionate analysis of desire and passion. These films contain a similar tension / contradiction and perhaps the title participates in that. And I think there’s a similar undecidability to the shorts: what significance do they amount to? To whom do these moments matter?

I heard the writer filmmaker Miranda July introduce a screening of these shorts at the IFC in New York this summer. She said that when she first saw Campion’s shorts she saw a type of filmmaking she could do (my summary). I took this to mean that July felt the films provoked and read her back too. That to watch these “passionless” moments is an invitation to reflect on one’s own moments. I see further evidence in the several “Passionless Moments” shorts on youtube that pay homage. Explore at your own risk. And maybe dare to ponder your own.

[youtube http://www.youtube.com/watch?v=aDoAmHPWHn4]
[youtube http://www.youtube.com/watch?v=fl3nVh68914]
[youtube http://www.youtube.com/watch?v=pXfQOZOk8dU]

—RWGray

Sep 222011
 

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Ruth Meehan’s And the Red Man Went Green brings the chaos and potential of one day down to a single moment crossing a street. Though it’s not ostensibly about a kiss, the narrative has much in common with Chekhov’s short story “The Kiss,” in which a young soldier is accidentally kissed by a woman, sending a shudder of changes through his plain life.

The director Richard LaGravanese also found inspiration in Chekhov’s short story for the key moment when his protagonist in the film Living Out Loud (starring Holly Hunter–the movie was originally called The Kiss) is surprised out of the grief she is suffering at the loss of her twenty-year relationship.

Each of these stories touches on sudden moments when strangers are accidentally and sometimes unconsciously there for one another.

>Meehan is an Irish writer / director and she has shot several short films. And the Red Man . . . is her second short and it did well at festivals, winning the Special Jury prize a the Tehran film Festival and the Prix Canal+ at Brest.

If you enjoy Meehan’s very short film, you can see another by her (based on a true story about an adventurous cat) here:
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—RWGray

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Jun 012011
 

rwgray-victoria.

Lightning, God, rocks, an eternally smouldering corpse, and a giant mother are the furniture of this spectacularly macabre and hilarious short story from R. W. Gray’s first collection Crisp, which I discovered just a couple of months ago while reading books for the Danuta Gleed Literary Award (Crisp was a finalist). First, the coincidence: I actually met Rob Gray two years ago in Mark Jarman’s house in Fredericton, New Brunswick, but it did not register with me at the time that he was a writer of such gifts and charm. (Goes to show, I guess, but what?) Second, the literary refs: I love the giant woman, the smouldering car. Obviously, we are not in the world of the real, possibly the world of the Real (in the Lacanian sense). The giant mother is, of course, a descendant of Rabelais’ giants, also a relative of the mysteriously enlarging giantess in Robert Coover’s novel John’s Wife (gorgeous novel: the giant woman saves the sheriff from a forest fire by peeing on him) and even the giant pig that takes over the house in Flann O’Brien’s amazing little book The Poor Mouth. This story has, as Mark Jarman writes, “verve and swing.”  It’s a pleasure to present it on Numéro Cinq. (And you can buy the book here.)

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R. W. Gray was born and raised on the northwest coast of British Columbia, and received a PhD in Poetry and Psychoanalysis from the University of Alberta in 2003. He is the author of two serialized novels in Xtra West magazine and has published poetry in various journals and anthologies, including Arc, Grain, Event, and dANDelion. He also has had ten short screenplays produced, including Alice & Huck and Blink. He currently teaches Film at the University of New Brunswick in Frederiction. Crisp is his first book.

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Crisp

By R. W. Gray

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It’s Tuesday and our father has packed the trunk of his rusty blue car. I am seven, my brother Randy is five, and we’re both standing on the porch and what neither of us says out loud is that we’re relieved. We watch him load the last of his stuff in the car. The lamp with the tassels from the living room, and his dining room chair, the one with the arms. Now there will be only three chairs left. I think to myself that the lamp and chair are signs he isn’t coming back. He’s taking everything he could need. Then I see a storm in the South bunching up where the highway and the horizon meet and I worry this is a sign he’s going to stay. I tetherball back and forth this way.

Randy stands and stares. He grips a rock in his right hand and I wonder if he’s going to throw it. I say nothing to him. I’m not a very good older brother. Mom pushes the screen door open and stands between us. Her left hand is over her mouth, her right hand props her elbow to keep her mouth in place. I can hear the thunder now. I want to call to Father as he opens the door, say maybe he should wait out the storm. But he nods before I can and gets in. The car shudders, a plume of blue smoke erupting towards us on the steps. He doesn’t wait for it to warm up, just backs up then the car moves forward and away. His left arm reaches out the window and waves a slow wave. Thunder again, and I look up to the rain suddenly falling on my bare face, the storm here already, like it just remembered it should rain and is making up for lost time. She starts to cry then, our mom. Maybe she thinks the rain will hide her tears, the telltale red of her run-ragged eyes. Or maybe she doesn’t care.

We watch him drive the half-mile down to the end of the driveway, driving into the storm, the clouds mud grey and the lightning cracking in the big sky. His car stops at the highway. He doesn’t signal. The car idles, long enough for me to think maybe he’ll turn around and come back. Maybe he’s thinking about Randy and me. How we need a father. One one thousand. Two one thousand. What’s he waiting for?

A bolt of lightning rips through the air above the highway, smites Father’s rust-pocked blue car and it explodes as the gas tank turns electric. Mother’s hand flies off her mouth and she lets out a strange animal shriek; she starts to laugh, everything tumbling out of her mouth at once. She had been nagging him for weeks to get the gas tank fixed. It was leaking gas everywhere. The back seats, the carpet, were wet with it. So it could have been the car cigarette lighter that pops clear of the dash when ember hot. But I prefer to think it was the lightning, that God has something to do with it. Because only God can smite things.

Mom’s face clinches red and raw in the rain, the laughter spilling out of her a little angry then a little sad then a little angry, and on and on. I see Randy look down. Yellow liquid running down her legs from her short denim shorts. She’s peeing herself, a yellow puddle forming around her bare feet on the deck. The rain’s falling harder now, splashing the urine. Randy looks like he’s going to say something but I give him a full force look. I give him the look that he and I both understand means just look at the horizon, look at the smoldering metal of our father. We are rocks, Randy, just look at the horizon.

What if he’s still alive? I take a step forward, a lurch.

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