Archive for the ‘Features’ Category

New York: Les Blank at Film Forum

Wednesday, November 19th, 2008

The trend toward digital cinema may have left the seventies far behind, but there must still be some of you out there who remember when 16mm film was among the most accessible formats. Before the Handicam, the onboard shotgun microphone, and non-linear, OS-based editing software, documentary filmmakers had to actually light their subjects’ spaces, sound recordists had to carry reel-to-reel tape recorders, and tens of thousands of feet of film had to be exposed, developed, printed, and spliced together on electric flatbed machines.

Thanks to the versatility of small-format 8mm and 16mm film stocks, low budget and independent films were still achievable. And if it still sounds like a work-intensive process, just take a look at the results at Film Forum this week.


Always for Pleasure (1978)

Documentary filmmaker Les Blank’s legendary body of work is on display at one of Manhattan’s premier independent theaters, located at 209 West Houston Street, and what a body of work it is. The director and his collaborator Maureen Gosling, in a tireless pursuit of rare, beautiful, and otherwise interesting subjects (spanning some four decades and still going strong), have compiled several dozen films, both short and feature length, on topics ranging from the love of garlic to women with dental eccentricities to Latin music traditions in the American southwest. A soft-spoken Blank and the more assertive Gosling will be appearing for several question and answer sessions throughout the week’s programs.


Blank and Werner Herzog

His footage alone is historic. Whether tracking Werner Herzog through the rainforest of the Amazon basin (1982’s Burden of Dreams earned a prestigious Criterion Collection release), exploring drumming and rumba traditions in Cuba, or making enemies in dance halls throughout the deep South for imposing his modest lighting scenario, the results are never anything short of breathtaking. Blank’s camera lyrically shifts focus, poignantly zooms in and out, and takes advantage of all the beautiful soft edges and soft contrast that 16mm has to offer.


Sworn to the Drum: A Tribute (1995)

What has emerged, and will continue to emerge, from the countless hours of this process-intensive filmmaking are a cache of poetic and resonant stories about love, music, good food, and the passion that drives our human culture.

By Michael Prall, FilmClick staff, mprall@filmclick.com

Film Review: JCVD

Monday, November 17th, 2008

This may be the best film you didn’t see this season. Or perhaps it’s the best film you avoided because you remembered the experience of 1997’s Double Team? Either way, it’s been making it’s way from art-house to multiplex in major cities across the country, and surprising audiences at every turn. Van Damme is an absolutely compelling subject in this non-documentary study of his life as a former international superstar. Yes, indulgences and betrayals in Hollywood have screwed up his life, and yes, he’s like a confused kid inside, and yes, he can still kick a cigarette out of a man’s mouth.


JCVD

French breakout director Mabrouk El Mechri offers an ultra-meta story about a robbery involving JCVD, who plays himself, arriving in the wrong place at the wrong time. It’s not only an allegory for his knocked around Hollywood experience: the drug use, child custody battle, and his fall from grace in the action industry. It’s a poignant exploration of the public’s relationship to celebrities, the role of violence in Hollywood and its satellite media, and an intelligent comment on victimization in today’s culture. And it also reminds us of how awesome this superstar once was.


director El Mechri and Van Damme

JCVD poses Van Damme as a hero in his European home, rather than the washed up Hollywood by-product as the phone conversations with his American agents would have us believe. Are these crowds of fans cheering a native son, or an action star they once truly believed in, and won’t throw to the wayside like so many multiplex flavors of the month? JCVD certainly takes the time to pose for pictures, sign the autographs, and please the crowds. He’s one of the good guys. El Mechri and this film seem to be saying that despite the exploitative Hollywood factory system, good guys can still rise above the mire and prevail.

By Michael Prall, FilmClick staff. mprall@filmclick.com

Film Review: Enlighten Up! @ DocFest

Tuesday, November 4th, 2008

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Kate Churchill is a filmmaker and hard-core yoga practitioner who insists that yoga can transform anyone. She decides to prove it in the making of Enlighten Up! The doc begins with short clips of published yoga instructors who claim to do yoga for varying reasons: it is an amazing workout, it has the power to transform, it is a means of spirituality. None of them can agree how old yoga is, ranging anywhere from 2,000 years to 40,000 years, allegedly.Churchill has the noble aim to find a novice and prove that yoga can transform spiritually and physically (at least one way if not the other), although she herself does not know why, and , reminding us that yoga is a multi-million dollar business in the United States, she remains slightly but refreshingly skeptical herself.

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She chooses 29-year old Mark Rosen, a journalist living in New York City, who has recently quit his job. His father is a lawyer with a “big office” and his mother is a spiritual healer. True to his journalistic nature, Mark seeks facts in his yoga quest, as he is not looking to believe anything that cannot be proven to him. This primarily-journalistic and increasingly skeptical approach takes Mark through a variety of different types of yoga practices and everywhere from New York to LA to Hawaii to India. When asked why he is participating in the documentary, Mark affirms that he wants to explore the issue of yoga for both himself and society, although he does not expect to find earth shattering changes.Instead he embarks on a journey of travel, discussion, inquiries, and discovery, as he exposed to different ways of life and beliefs. A self-proclaimed “non-religious/spiritual” person, one yoga guru explains that admitting he knows nothing makes him inherently spiritual. But Mark struggles with his spiritual-less identity, hoping for it all to click. Meeting a large variety of people, one woman believes yoga to be better than sex, giving her an “incredible, unbelievable feeling of goodwill and oath” that is better, she swears, than an orgasm. Mark seems intrigued by this, although he never achieves it himself. Another practitoner promises better sleep, love life, and ways to make money. In his global quest, it seems that each person has different advise. Some claim that yoga is solely spiritual or solely physical, while others declare it is both on the “inside and outside”. As Mark wrestles with the conflicting data, Churchill wants desperately for him to undergo a transformation, and he seems disappointed that he does not live up to her expectations. However, multiple yogis constantly explain that it is a lifelong achievement.We cannot help but enjoy Mark’s honest struggle, as he seems generally laid back about the whole issue. He is charming and seems to get along with those who take yoga with a grain of salt and a sense of humor, and the audience cannot help but appreciate this. The documentary takes a close look into a highly trendy American practice, literally tracing back its roots. It is a cultural exploration, worth taking an hour and a half pause on which to reflect. Although it doesn’t appear that yoga is for everyone, Mark finds it does affect his life. In the end, it seems that experienced yoga teachers, writers, and gurus, alike, that no one really can define yoga. In fact, it is Mark who explains it best: “yoga is different things to different people”.

by Lily Saltzberg, FilmClick staff

New York: A Herzog Halloween

Monday, November 3rd, 2008

Greenwich Village’s IFC Center helped keep the scare alive during my post-Halloween weekend. The indie theater boasts a new 35mm print of Werner Herzog’s classic genre subversion, Nosferatu the Vampyre. IFC consistently includes retrospective programs, classic and rare films that augment an already impressive lineup of new and independent work.


Nosferatu the Vampyre

Nosferatu may not necessarily be among Herzog’s best films, but it’s certainly among the most memorable. It stars a terrifying Klaus Kinski as Dracula, the Romanian vampire of legend, brought to life in Bram Stoker’s immortal tale. In a strange combination of the classic German expressionist style, in particular the original 1922 Nosferatu by F. W. Murnau, contemporary (1970’s) industry horror movies (the dialogue is recorded in English, even), and Herzog’s tendency to inject a profound weirdness into his themes, the film becomes far more complex as it moves along.

By the end, we’re treated to some typical Herzog subversion, as the city is stricken with rats, and the plague they carry with them. Citizens in their final hours dance around the anarchic town square in glee, at one with death and decay. Also of note is Kinski’s natural ease with the role of Dracula. He seems to have been born for this role. The piercing stare and ethereal stillness that characterize many of his Herzog roles in this case come off as truly horrifying.

By Michael Prall, FilmClick staff, mprall@filmclick.com

Film Review: Debate Team @ DocFest

Saturday, November 1st, 2008

sfdocDebate Team accelerates all notions of competition as it explores the bizarre subculture of competitive college debate. This documentary takes us into another universe that, while it takes place on my college campus, is otherwise absolutely foreign. Speaking at 360 words per minute, the debates are impossible to process and understand by anyone who does not have a well-trained ear to keep up.  In 2005, nearly 200 teams converged at San Francisco State to compete in the National Championship. The documentary follows four teams: Michigan State, Harvard, West Georgia, and Berkeley in their quest for the national title.

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Exploring the potentially dangerous history of college debate teams that ponder questions of universal magnitude, the debaters find a stimulating allure in the frequent potential of planetary extinction or nuclear war in which most debates end.  As one debater puts it: “you can be talking about how going to the mall will end in universal war”.The students spend about 60-80 hours a week refining their technique, even when not in tournaments. Debaters confess that they enroll in classes that do not require attendance, so that they do not have to worry about showing up to class, instead focusing on the all-consuming realm of debate.  Although the primary debate technique is a blend of speed and endless information, there is a strain of debate that is largely about the very style of debate itself, debating not topics of extinction or global warming, but instead investigate the purpose of debate, which is used as a laboratory for activism instead of to practice the art of argumentation. While teams have varying styles and strengths, all seem to share a common sense of rivalry.Much of the contention between teams centers around Aaron Hardy (U of Michigan) who sacrifices sleep and showering to “cut cards”, the laborious method of collecting research.  He is infamous for his stench that signifies his poor hygiene, symptomatic of his unwavering efforts to win.  Aaron proclaims that he doesn’t “give a shit” who likes him.  Michael Klinger from Harvard is a naturally gifted debator, as opposed to Aaron who has to work at debate and is not as naturally talented.  Harvard has the successful, fun, and popular team, that Aaron refers to as the “Moby Dick of my debate”.  Hardy is such a force in the deate world, that Will Repko, Michigan University coach, refers to him as a “punk” and a “fucker”.  Aaron is further described as one “who comes off has being mean, has a singular focus, which is winning, which is off putting”, starkly opposed to the fun, more sociable Harvard team, led by Klinger.   The ruthless competition accelerates throughout the documentary, a glimpse into a shocking yet guiltily entertaining world of intellectual spats.Perhaps the most disturbing aspect of debate, is a popular metaphor that coaches use to train winners: you have to be able to kill a puppy.   This metaphor captures the ruthless, heartess attitude that debators stirve to achieve. This documentary is equally shocking and entertaining as it takes an unforgettable look at competition at its  most intellectual and yet most vicious state.

Sunday October 19 at 7:15 PM at Roxie Cinema

Tuesday October 21 at 7:15 PM at Roxie Cinema

Sunday November 2 at 9:30 PM at Shattuck Cinema

by Lily Saltzberg, FilmClick staff 

Film Review - Jake’s Closet

Friday, October 31st, 2008

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Jake’s Closet (92 mins) takes us through the dark and twisted world of divorce where the terrifying threat of zombies is an easier fear to defeat than reality.We first meet Jake (the film introduces Anthony DeMarco) as he plays in his backyard by himself and finds a dead rabbit. A few scenes later, his reluctant playmate, Dillon (Matthew Josten), convinces him that a zombie that lives under Jake’s house killed the rabbit.  Dillon gives Jake a pamphlet with the FAQ’s about zombies, which encourages both Jake’s fear and proof of the zombie’s existence throughout the film. Although he falls in love with another woman, the audience learns to sympathize with Peter (Sean Bridges; HBO’s Deadwood), Jake’s father, who is  actually invested in his son’s interest and well-being, while his mother, Jules (Brooke Bloom; CSI: Miami), is the epitome of a self-interested, clueless maternal figure.  His mother ceaselessly blames Peter for the divorce, victimizing herself and Jake, and overlooks his well-being to indulge in the instability of her own emotions.  Home from school during the summer, Jake finds himself with too much free time for his imagination to run wild.

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The film is shot with impeccable skill and beautiful technique, creating a calm, serene sense of eeriness that accurately captures the plot’s suspenseful tone.  Forced to play mediator between his parents, Jake is alienated from his family as he is ping-ponged from his mother to father, and back again, embodying the very split of the nature of divorce.  He is further alienated by his his overwhelming fear that neither one of his parents can understand.  Although Jake learns to grow up faster than a young child should, making his mother coffee when she cannot get out of bed or delivering the mortgage check from his father to his mother, it is when he finally comes face to face with the zombie that terrorizes him that Jake is truly forced to take action over his own life as he confronts his paralyzing fear. Writer/Director Shelli Ryan says of Jake’s Closet: “with so many marriages ending in divorce, there needs to be a national discussion about the effects of divorce on children, along with the appropriate behaviors from parents and everyone involved in family courts.  Often in a divorce, the children get lost in the battle that everyone claims is being fought on their behalf”. Exploring the fragile issue of divorce, Jake’s Closet tackles the common yet often unexamined  topic through the eyes of a young, only child who understands little of the trauma that he faces on a daily basis.

DVD  release: Tuesday,  October 28, 2008

Trailer:  www.JakesClosetMovie.com      

photos courtesy of Jack Zeeman

by Lily Saltzberg, FilmClick staff 

New York: Anthology Film Archives

Friday, October 31st, 2008


Consider 2nd Avenue’s haven for avant-garde film projects of all shapes and sizes. Anthology officially made its start in 1970 as the first museum dedicated solely to film as an art form, and hasn’t looked back since. Lithuanian filmmaker and curator Jonas Mekas, along with several others including Stan Brakhage and Peter Kubelka, laid the groundwork for what is today Manhattan’s premier venue for both new and retrospective avant-garde film and video work. Between the 72-seat Maya Deren Theater and the larger (182-seat) Courthouse Theater, Anthology is equipped to project work in formats including 35mm, 16mm, 8mm, super-8, and video.


Song and Solitude

I saw the third and final segment of a week-long Nathaniel Dorsky program entitled The Walking Picture Palace, which featured selections of his work since the 1960’s. He’s a San Francisco Bay Area 16mm artist, whose typical work is meticulously shot, juxtaposed, and projected in a silent testament to the power of this overlooked medium. By far, his work is among the most beautiful 16 I’ve had the pleasure to witness. His talkback after the program was representative of one of Anthology’s missions, constructing a theater in which films “can be seen under the best conditions.” Dorsky apologized for the noises of the ventilation, and the sirens outside, and asked if anyone would like to see the program again.


Abel Ferrara, Venice Film Festival 2005

A week later an unreleased Abel Ferrara film finally opened. Sometimes ecstatic, sometimes chaotic, this exploration into the spectrum of Christian belief won the Grand Special Jury Prize at Venice 2005, yet somehow never gained commercial release in the states. Mary stars Juliette Binoche, Forest Whitaker, Matthew Modine, and many more, and explores the varied ways in which people experience religious catharsis. Co-producer and long time Ferrara friend, collaborator, and production designer, Frank DeCurtis introduced the film and answered questions. “Abel meant to be here,” he said on opening night, “but something came up last minute and he had to fly to Moscow.” Hopefully, with so many fascinating elements, Mary will enjoy more than just a two-week run. Thanks to Anthology Film Archives, though, films like these are allowed to surface, however briefly.


Zidane: A 21st Century Portrait

Another gem that has been scantly recognized here in New York is a formalist experiment from co-directors Douglas Gordon and Philippe Parreno. Superstar cinematographer Darius Khondji and an army of camera operators follow Réal Madrid star Zinédine Zidane from start to finish during an exciting home football match. Continuous editing allows the game to happen in real time, while the skillful camera work keeps the viewer’s attention solely on the titular star. Many of the elements work to create an unique experience and effectively de-familiarize the match, although the score from hipsters Mogwaï is almost too effective, drawing too much emotional response and not quite enough concept. But Zidane is among this year’s most interesting releases, and without this ambitious art venue and its continuing mission, this film and countless others may go completely unrecognized.

By Michael Prall, FilmClick staff. mprall@filmclick.com

Film Review - Considering Democracy @ DocFest

Thursday, October 30th, 2008

In Considering Democracy: 8 Things To Ask Your Representatives (56 mins), writer/director Keya Lea Horiuchi explores American democracy through the process of asking questions.  Taking us through ten  countries, including Thailand, India, Dominican Republic, Egypt, Japan, Australia, Nepal, and the US, the documentary begins by asking, “Have you ever wondered what other people think of the United States?”  Through a series of interviews and extensive research, Horiuchi complies a list of eight questions to ask your representatives before electing them into office or even challenging them once they are there.

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Horiuchi expresses her admirable obligation to not only her country, but also the globe at large: “As an American, I want to see open and respectful dialogue between people and groups.   I believe in the perseverance of humanity and respect the beauty in democracy.  As more people begin open dialogue, I believe this will bring strength and courage to American democracy”.  Her impressively audacious aim is captured in the documentary that uses interviews, news footage, facts, and figures to raise suspicion about the activities of the government, corporations, lobbyists, and the complacent general public.  While the seemingly arbitrary compilation of questions are  in fact centered around the flaws of the Bush administration, the corrupt nature of lobbyists and corporations, and the US fiscal spending in comparison to other countries, the film implies that it is the failure of the American people to ask questions.   The doc begins as Horiuchi decides, “to leave [the US] and start asking questions” in order to explore her initial query of what  other people think of the US.  Beginning interviews by asking the simple question, “what do you think of the United States?”, she finds a wide array of answers ranging from admiration, awe, mockery, disdain, and fear.  Adapting her questions to the people she asks, she often found more provocative answers in asking simply, “What is important to you?”

Researching the feedback she collected, Horiuchi compares various governments policies of other countries to the US.  For example, the obligatory four-weeks of vacation in Australia starkly differs from the workaholic nature of the United States.  Therefore, Horiuchi logically launches her series of eight questions by asking, “why don’t we get mandatory paid vacation time?”, an inquiry that gives way to a series of more complex queries. In addition to international interviews, the film juxtaposes global perspectives with those within the US.  In one interview, a D.C. lobbyist refuses to state for whom she works, while another interview of a US economic scholar analyzes the expenditures of US taxes.  A personal favorite was the intermittent footage of “Bush-isms” that provide an ironic sense of comic relief.  In a clip of Bush speaking on the topic of terrorist, he says “every life is precious.  That’s what distinguishes us from the enemies.  Every life matters”.  Although he refers to the religious belief of “the enemies”, taken out of context, this clip shows a morbid hilarity in Bush’s irreverence for a larger sense of humanity; the film’s overall blatant liberalism, puts it at home in the bay area. 

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Although the doc is undeniably well researched, it presents its audience with almost too much information.  While the research is provocative and thought provoking, it is impossible to digest all of the charts and graphs that seem somewhat more like a history lecture than a film.  That said, the documentary raises essential questions that the American people should be asking, especially in light of the impending election.  It is refreshing to see an American filmmaker looking for answers outside of the US, in a culture so typically “self-absorbed and ignorant”, as an Australian interview puts it.  In a country that “thinks inside, not outside”, Horiuchi raises the bar and makes gigantic leaps to help us look at the way Americans see themselves: by viewing though the eyes of others.  Ironically, however, almost all of the international interviewees speak English, perhaps more indicative of the US as a whole rather than the filmmaker.  In this way, the documentary shows us the result of one of the ignorant American stereotypes it criticizes, seen here in the US’s notorious devalue for learning multiple langauges.  In this, the doc self-reflexively reveals a flaw of the society that it explores. Horiuchi certainly achieves her hope that the film “can broaden the scope of debate in the U.S.”, as she sets a high precedent of the extent to which the American people should inform themselves and each other.  The film forces us to re-examine what it means to be patriotic, daring one to think and ask well-informed questions.

We also had a chance to interview this filmmaker at DocFest.

This is the HD version which will play above.
See it in SD here for lower bandwidth connections.

For more info on DocFest go to:

www.sfindie.com

Considering Democracy plays at DocFest on Saturday, November 1 at 12:30 PM at the Shattuck Cinema in Berkeley, CA.

by Lily Saltzberg, Filmclick.com

Film Review - “Kassim the Dream” @ DocFest

Wednesday, October 22nd, 2008

Kassim The Dream is the poignant story of World Champion Boxer, Kassim ‘The Dream’ Ouma and his emotional journey back home to war-torn Uganda. Kidnapped from boarding school at age six, Kassim was forced to become a child soldier and commit violent atrocities for a rebel army. Twelve years later, he fled the army and Uganda to come to the United States, where he trained as a boxer and quickly became the Junior Middleweight Champion of the World.

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Kassim the Dream

Living the American Dream complete with fame, success and a hip-hop lifestyle,  Kassim is portrayed as jovial and friendly. His outspoken nature and interesting interpretations of urban slang provide comic relief to this often heavy story. Still, the heart of the film is in Kassimʼs efforts to reunite with his family and return to Uganda after 10 years of exile. The rebel army he fled is now in control of the country and he fears the death penalty as punishment for his desertion.  Kassim campaigns for a military pardon from the Ugandan government, and his efforts prove to be a distraction, as he loses an important world title fight against Jermain Taylor, the current Middleweight Champion.

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Kassim the Dream

When Kassim returns to Uganda, he is greeted as a hometown hero. The emotional homecoming is at times too much for Kassim, who realizes his country is in worse shape than ever. He visits a boxing camp in the village of Gulu, where he teaches the trainees, but notes that the conditions were poorer than what he had to deal with (he at least had shoes). When he reaches his familyʼs home to visit his grandmother, he is engulfed by the villagers who follow his every move, even while at his fatherʼs gravesite, where he is overcome with grief.

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Kassim the Dream

The film is wonderfully shot but particularly shines once Kassim returns to his homeland. The images are saturated and colorful, emphasizing Ugandaʼs natural beauty and people. The soundtrack is rich with drum beats and African music. Most remarkable is a scene where Kassim attends a reenactment of a murderous attack on a village. The camera moves in slow motion as children clutching realistic-looking guns, rampage about, pushing and assaulting anyone in sight.  Director Kief Davidson has created an engaging portrait of Kassim Ouma. We experience Kassimʼs passion and spirit as we follow him inside and outside the ring, but mostly as he confronts his horrific childhood.

by Arami Reyes, FilmClick.com

 

Film Review - Callback: The Unmaking of “Bloodstain”

Thursday, October 16th, 2008

The random, interwoven sequence of events that leads up to the casting of a schizophrenic, a classically trained actor, and a pathetic “thug”, all in one film, create a dangerous group of misfits that will kill the chance of the film’s completion.

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Callback, the “unmaking of ‘Bloodstain’”, shows the ridiculous way a film unravels throughout production.The honest, self-consciously self-deprecating depiction of struggling artists in Los Angeles, turns a story that we’ve seen a million times, into a unique, comedic catastrophe. Told in juxtaposed “mockumentary” and straightforward narrative, the majority of the film leads up to the tragically comedic unfolding of the “unmaking” of the film within the film, entitled “Bloodstain”. Directed, and co-written by Eric M. Wolfson, he explains that he and his writing partner, Michael DeGood, “found the idea of giving people a glimpse of what most working, or more often not working actors, in Los Angeles face on a day to day basis, very appealing”. Struggling to land a pizza delivery commercial, and starring in a play “Hamlet My Homie” humorously captures the less-glamorous Hollywood dream.

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The diverse cast of specific, individual characters carries the film. It’s no wonder that Jeff Parise has won multiple best actor awards for the role of Tony (including best actor at Indiefest 2006, Breckenridge 2007, and Lakedance 2007). I caught myself laughing out loud at Parise’s beautifully awkward portrayal of Tony, a schizophrenic with a refrigerator full of milk and a confusingly sweet girlfriend Jill (Jennifer Hall). Taking on the challenge not only to play a schizophrenic, but to pull if of so smoothly and with impeccable technique, Parise embodies two entirely different roles people: the shy, awkward Tony who loyally takes his pills, and the rambunctious, Spanish-speaking rebel that lands the role in “Bloodstain”. We cannot help but sympathize with Peter, played by Johnny Moreno, an actor who arrives two hours early to each audition in order to “warm up”. Struggling to pay his rent, he cannot even land a job as a waiter and he sees no other option but to take a job as a phone sex operator. His straight, serious character embodies the spirit of what Wolfson hopes his audience to gain from the film: “having a deeper appreciation of the lengths to which people will go to make their dreams come true”.

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But it is not only the actors with whom we sympathize. I could not help but indulge in the painful sequence of callback nightmares that up-and-coming director Marci (Kat Orsini) and Andrew (Brian Michael) face as they confront the politics of production. Orsini plays Marci, a first time director, with a delicate balance of bitchy-ness and annoyance at her eccentric cast. Although she has few likeable qualities, we can’t help sharing her angst against the corrupt producer who threatens her job in order to cast his talentless nephew, Carl Simple (co-writer DeGood). Carl has no redeeming characteristics at all, from his terrible acting skills and “impressions” to his unfortunate “day job”: mugging people for money (while he waits for his Uncle to hand him a part). The only character we might dislike more, is Carl’s beautiful but borderline insane girlfriend, who refuses to get a job and forces Carl to carry a gun; her malice acts as a driving force for disaster.

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My only notable complaint is that it takes a little too long to get to the disaster that we know is impending from the moment the film begins. While it provides an in-depth explanation for the series of events to unfold, I found myself impatiently awaiting the climax. However, the seemingly drawn-out set up building to the actual “event” that the film promises, does deliver the action and drama that it guarantees. Although Callback might not be a groundbreaking masterpiece, its comedic moments of desperation are worth savoring.

Callback: The Unmaking of Bloodstain (96 min) begins its one-week run at the Landmark Theaters in San Francisco, on Friday, October 17.
For tickets: https://tickets.landmarktheatres.com/Landmark.aspx?TheatreID=225

Lily Saltzberg, FilmClick Staff