The Criterion Collection, a continuing series of classic important and contemporary films presents American Movie.
Menomonee Falls may be a long way from Hollywood, but quick-talking filmmaker Mark Borchardt has a cinematic dream and he aims to finance his magnum opus, Northwestern, through a direct-to-market, no-budget horror short titled Coven. Filmmakers Chris Smith and Sarah Price filmed Borchardt and his team of hometown thespians and semi-willing family members through two years of financial crisis and emotional turmoil. The result was a bizarrely heartfelt and hilariously poignant documentary that became the award-winning hit of the 1999 Sundance Film Festival and a uniquely arresting portrait of Midwestern eccentricity, determination and character.
Thoughts of the Fantasia Film Festival in Montreal (just underway) and various other fantastic film festivals still to come has me reflecting on cinematic weirdness and my attendance to the Saskatoon Fantastic Film Festival back in October. Among my favourites were Daniel Moshel’s two bizarre shorts, MeTube: August Sings Carmen ‘Habanera’ (2013) and MeTube 2: August Sings Carmina Burana (2016). The former is a hallucinatory tribute to awkward YouTube performances. Featuring Swiss tenor August Schram as a nerdy opera wanna-be and Elfie Wunsch as his grimly attentive mother, the short transforms a reserved and amateurish rendition George Bizet’s Habanera from Carmen into an EDM-infused, pan-sexual bacchanal, and it’s weirdo-glorious. Moshel’s crowd-funded sequel takes MeTube‘s classical mindfuck to the streets with a flash-mobbed carnival of “Opera on Acid.” For more by Moshel and a peek into the making of the films, check out his YouTube and Vimeo pages!
I’m working on our next proposal (an underappreciated comedy for the Shout Select label) so hopefully that will arrive soon. TCB, baby!
I like asking – if your life required narration, who would you want to provide it? No one has ever chosen Tom Waits, which is too bad because he does have a great voice. I like the idea that Tom Waits’s voice is a natural starting point for this micro-portrait of artist John Baldessari. It’s an entertaining short, full of wry humour and clever edits and Looney Tunes momentum thanks to its classical score. This is me enjoying A Brief History of John Baldessari (Henry Joost and Ariel Schulman, 2012).
Very much in the same vein is Ed Ruscha: Building and Words (Felipe Lima, 2016), another micro-portrait of another California artist narrated by another celebrity. This time it’s Owen Wilson, and while he’s no Tom Waits, he has pretty good voice for this too. I wouldn’t second guess anyone choosing him to narrate their life. Lima’s short takes a similarly machine gun approach to surveying the artist’s vast catalogue, and expands the talking head count along the way. It’s all enough to make you move to California and start exploring the artistic possibilities of label makers, road paint, or portraits of diner specials.
The Criterion Collection, a continuing series of important classic and contemporary films presents Thirty Two Short Films About Glenn Gould.
François Girard provides in this unconventional bio-pic a compelling and memorable exploration of Canadian musician Glenn Gould, arguably the 20th Century’s greatest classical pianist. Through thirty-two elegantly constructed vignettes mixing drama, documentary, animation, and avant-garde, Girard reveals glimpses of Gould as performer, recording artist, humorist, outdoorsman, speculator, recluse, and iconoclast. Taken together, Thirty Two Short Films About Glenn Gould offers a prismatic understanding of Gould’s complex genius and his personal struggles without dispelling the enigmatic power of his legend.
Charlie Lyne’s wonderful work of montage-documentary Copycat (2015) tells the story of Rolfe Kanefsky’s There’s Nothing Out There (1991), a self-aware horror-comedy made by the 19 year-old filmmaker for $100,000. You may not have seen this pioneering cult classic-neverwas … or maybe you have and you just don’t know it.
The Criterion Collection, a continuing series of important classic and contemporary films presents Arthur Lipsett: In Between Artist.
Admired by cinema innovators like Stanley Kubrick, George Lucas, and Stan Brakage, Canadian filmmaker Arthur Lipsett was an experimental phenomenon within the National Film Board of Canada, creating avant-garde collage films that mapped the alienation of technological advancement and media saturation. These films, assembled from footage shot by Lipsett and collected from trimmings of other NFB productions, convey Lipsett’s view of increasing dehumanization under the pressures of modernity, yet they remains energetic and enthusiastic in their ironic juxtapositions and rapid-fire pace. This collector’s set provides a complete survey of Lipsett’s experimental works and four related films examining the life and art of one of experimental cinema’s most enigmatic filmmakers.
- New 2K digital restorations of all 8 films – Very Nice, Very Nice (1962), Experimental Film (1963), 21-87 (1963), Free Fall (1964), A Trip Down Memory Lane (1965), Fluxes (1968), N-Zone (1970), Strange Codes (1972) – with uncompressed monaural soundtracks on the Blu-rays
- Interview with director George Lucas
- Two Films by Lipsett, Donald Rennick’s 1967 documentary discussing Free Fall and A Trip Down Memory Lane with a group of teenagers
- Remembering Arthur, Martin Lavut’s 2006 feature-length documentary on his close friend, Arthur Lipsett
- The Arthur Lipsett Project: A Dot on the Histomap, a 52-minute documentary from 2007 by Eric Gaucher
- Lipsett Diaries, Theodore Ushev’s 2010 animated short featuring narration by Quebecois filmmaker Xavier Dolan
- PLUS: A booklet featuring essays and capsules by Lipsett scholars William Wees and Fred Camper and filmmakers Brett Kashmere, Amelia Does, and Dirk de Bruyn