In his debut, Cameron Bruce Nelson has managed to present an effective portrait of humility in slow burn, a case study on the matter of adaptability as the nature of Sal’s situation remains in a constant state of flux, trying in earnest to readjust until finally realizing that he may not belong or be able to make do as nature decisively states its dominance emphatically. A bittersweet tale occupying the margins of the in between, in between the dusk of unrealized, cast off dreams and the threshold of promise and new beginnings.
The purview of the visuals consists of Akerman’s new residency, New York City; but, unlike city symphony films of the past wherein the experimental, poetic structure of the images are meant (in most instances) to enlighten the viewer as to the spirit and overall culture of the city itself and its citizens (which is still incidentally captured), Akerman inverts the intentions of these images by employing them as a signifier of her circumstances, the emotional landscape she finds herself in while attempting to carve out a path for herself in a foreign country, away from those she loves.
McDonnell fully immerses the viewer in the world of John’s of 12th Street, guiding the audience through the in-the-kitchen execution of the menu to the restaurant-managing of stock deliveries and discrepancies to the actual patrons themselves (the film even follows along on take-out deliveries). She keeps it simple (or at least gives the appearance of simplicity) letting the ambiance speak for itself while the community inside do much of the heavy lifting, most everyone has a story to tell (or an anecdote or philosophy to share) and McDonnell kindly provides the allure of an audience.
A couple of years ago a little indie zombie movie called The Battery came out, which I completely adored, so naturally now that director Jeremy Gardner‘s next project, Tex Montana Will Survive!, is on Kickstarter I have to highlight it. The
When it comes to the soul set out on display in Ry Russo-Young’s You Won’t Miss Me, the subject of ownership remains indistinguishable; working from a screenplay, co-written with lead actress Stella Schnabel, which appears to contain a number of illustrations of unmitigated truth interspersed with dramatizations of breaking into the acting business. Whether these naked portrayals free from pretense stem from Schnabel’s personal life (perhaps, playing a version of herself) or Russo-Young’s (or they may even be an assemblage of collected experiences) is irrelevant since both present the character of Shelly with such conviction and consideration they render her life experiences an unquestionable actuality.
Death is abundant in Tears of God, the feature-length debut from writer/director Robert Hillyer Barnett (co-written with Diamando Proimos), manufactured at the hands of others or cultivated within the familiar palms of their own. Either way, death is a pervasive condition afflicting the congregation of a small church (of sorts) nestled in the snow-covered, mountainous landscape where they worship and suffer; live and, ultimately, die.
For me, 2015 was a great year for movies, containing a wide array of solid releases, from huge spectacle films to low budget indies that all contain something special. Below, you’ll find my personal favorites of this year, whittled down from the 220
At the beginning of this week I posted the first half of my Top 50 films of 2015 (#50 through #26). Today is the day I finish this list (and any further list-making endeavors until this time next year), here are the rest of my picks from 2015.