BRIGSBY BEAR and the nostalgia of one.

 

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Brigsby Bear (Dave McCary, 2017)

 

Over the course of several years, and certainly since I’ve discovered new avenues for seeing lesser-known cinema be it through festivals, independent theaters, and the explosion of various streaming media platforms, I’ve almost always come across the most unexpected movie gems away from your regular AMC multiplex.

Dave McCary’s Brigsby Bear is the best Hollywood movie made in the first half of this year… and you probably don’t even know that it exists. It’s a small independent production, distributed by Sony Pictures and produced by the Lonely Island trio, who have been churning out underrated comedy genius for a while now (seriously, if you haven’t seen Popstar: Never Stop Never Stopping, I don’t know how you can consider yourself a fan of comedy). The fact that this movie hasn’t seen the light of day in regular mainstream theaters is insane because it probably speaks to the pop-culture cultism, and charming nostalgia embraced 90’s millennial kids more than any film in recent memory, and it does so without being too obvious or self-obsessed about it.

The central character, James, is a man-child who’s entire existence since his birth has been inside of an enclosed igloo with his mother and father in the middle of the desert and his only exposure to any form of other human connection is a TV show called Brigsby Bear about a giant stuffed bear and his two identical twin assistants who save the town-people from various evil villains including a Sun God. To call Brigsby an obsession for James is to undersell it. James’s life is consumed by it, to the point that he spends every day watching episodes, breaking them apart, creating mythologies around their characters, and posting his fan theories on the internet.

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Originality isn’t what really sets Brigsby Bear apart. The film follows a conventional progression of a character’s “self-discovery” and its emotional appeal is derived from nostalgia. Once James eventually becomes re-acclimated with “normal society” outside his igloo sanctuary, he gets the idea to create his own Brigsby movie. Alienated from everyone by the fact that nobody “understands” his love for a TV show, the movie’s moral argument centers around how we reconcile with the idea of “normality” itself. Do our experiences as children and what we consume in media as children ultimately shape who we are? And is this good? The answer to the second question depends on who you ask.

What sets it apart is its consciousness for generational gaps, and that it is, unabashedly, a film for millennials. In the internet age in which my generation has made it a symbol of pride to be a “90’s Kid”, most of us would predictably sympathetic towards James’ militant conviction for his childhood art. For older generations, the film may be a bit difficult to get through. However, McCary never allows his characters to devolve into being one-not. All of them are frustrating and agreeable at different points, and they make mistakes and redeem themselves multiple times throughout the film. This makes Brigsby Bear incredibly enjoyable because unlike many films which pit generation vs. generation or artistic types vs. practical types against each other, this movie understands that they’re all heterogenous entities, with different ideas and views of life, all of which are malleable in the real world.

I try not to send out direct recommendations of movies to people, but I loved this movie. I think you will too.

The New Jodorowsky – A look at THE DANCE OF REALITY and POESÍA SIN FIN (ENDLESS POETRY)

 

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Poesia sin fin (Alejandro Jodorowsky, 2017)

 

Some background:

[I first discovered Alejandro Jodorowsky while getting a bit deep into the dark parts of the film-web which discussed weird and disturbing movies, ranging from benign-strange like Terry Gilliam’s Brazil to just completely batshit what-the-fuck-did-I-watch strange like E Elias Merhige’s Begotten. Jodorowsky falls somewhere smack in the middle of that, and completely by surprise to me, it was an artistic sweet-spot.

I came to admire his passionate wonder and other-worldly vision when I watched his greatest masterpiece The Holy Mountain. I was further sold after watching the good-but-overrated El Topo and the lyrical and most emotionally mature of his films, Santa Sangre. Even his lesser work, a mainstream Hollywood film starring Peter O’Toole and Omar Sharif, The Rainbow Thief, is a film I conclude is only not-great because Hollywood producers handcuffed Jodorowsky from expressing his true vision. None of these films are easy to digest at first glance. Jodorowsky is a filmmaker who’s films do absolutely everything in excess. Their philosophy is haywire, their violence is vulgar, their sexuality is uncomfortable, and their love is heart wrenching.

But there is a purpose behind everything. Much of what made Jodorowsky such a cult icon is that he created a cinematic universe all his own, guided by his own divisive ideas of life and art and shared it, bare naked, unfiltered, and uncensored for all to see.]

 

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The Dance of Reality (Alejandro Jodorowsky, 2013)

 

Now, with his latest two films, he bares for us all, his childhood, and his path to becoming the filmmaker he is today.

This “new” Alejandro Jodorowsky, the one risen from the ashes after his 23-year hiatus following the commercial and critical disaster that was The Rainbow Thief, is someone I still have to get readjusted to. From an ideological standpoint, not much has changed. Jodorowsky is who he is. But from an artistic standpoint, there is something plastic-like about both The Dance of Reality and Poesía sin fin (Endless Poetry), the first two films of his 5-film cycle recounting his childhood and adolescence. Jodorowsky’s aesthetic doesn’t really hold up in the 1080p high definition world. What was endearing about his early-to-mid films was that their ambiguous sense and time and place was augmented by the graininess of the celluloid. That authenticity is gone in this movie, which plays more like a glossy stage-show. Throughout these two films, there are embedded vignettes where the characters will expand on a theories or ideas, and asides where a present-day-Jodorowsky will break the fourth wall and prophesize to us and his past self simultaneously.

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Much of this sort of symbolism is a little too straightfoward. Jodorowsky’s imagination is not as bold as it once was, even though the violence and sex throughout the films are just as provocative and weird. Especially with The Dance of Reality, it was clear to me that there wasn’t much of an interesting story going on here. Sure, Chile’s tumultuous political backdrop amidst Pinoche’s rise is noteworthy as is Jodorowsky’s father’s abusive attitude and a not-quite-obvious-but-still-uncomfortable Oedipus Complex between the young Alejandro and his very large-bosomed mother, who sings all of her lines as parts of an aria. Though, in regards of his self-discovery, hardly anything illumniating comes about. The young Alejandro has vague conversations with a pan-religious monk, tatooed with all sorts of symbols, reminiscent of The Alchemist in The Holy Mountain. These conversations don’t seem to move the needle much with whatever Jodorowsky is trying to say and many of them are repetitive.

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In Poesía sin fin, as with previous Jodorowsky offerings, much of the verbal philosophizing that goes on can be taken with a grain of salt, and much of may be dismissed by most as nonsensical blabber anyway, but what cannot be ignored is the brutal events which the central characters undergo and their constant search to find meaning in the physical pain and suffering they go through. Here too, Alejandro is beaten, raped, bled, and abused in several instances, and his anger is always accompanied with a questioning of his existence. This is how Jodorowsky thinks. After all, he is a man for who limitations and convention are a complete detriment to his world-view. Much of the film still struggles to bind interesting scenes together, and a good portion of the film is decked with filler material, this time explicitly sexual rather than philosophical, but there are clear ideas being sprouted unlike in Dance of Reality.

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Poesía sin fin comes into it’s own when it starts examining the two things which truly drive Jodorowsky’s art… poetry and the neglect and abuse of his father.

The best scene of a rather messy film is when Jodorowsky and his real-life poet-buddy Enrico Lihn discuss the idea of “poetry in action”, spontaneously compelling them to travel through the town in a literal straight line, with no deviation; if there is a car in the way they climb and walk over the car, if there is a house in the way, they knock on the door and ask permission to walk through the house, even climbing over the bed in the master bedroom. There is no actual need for this rigidity and it is rather inconvenient for the duo and moreso for everyone around them, but it encapsulates the eccentricity of Jodorowsky within a single sequence. It highlights his own view of art as an expression of unwavering, dedicated movement rather than mere theory and discourse. This idea is present in all of his previous films, as most of his characters go on rigorous and tortuous journeys of self-understanding and artistic enlightenment.

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Likewise, the most emotionally charged sequences in the film occur near the beginning where the still young Alejandro is forced by his father to savagely beat a poor couple and strip them naked in front of a crowd as a sign of power, and near the end, when he finally confronts his father’s savagery with some of his own, taking joy in the fact that his parents’ house has burned down rendering them homeless and poor. It is a bit uncompromising, perhaps an immoral mark of Jodorowsky’s character, but it’s the first time in this 5-film cycle we’re seeing Jodorowsky express deep feeling and understanding of who he is in relation to his disturbed past.

It’s quite clear Jodorowsky’s obsession with himself and his continued deeper discovery of cinema is still just as rich as it was at the beginning of his career, and if not necessarily works of great storytelling, The Dance of Reality and Poesía sin fin are still pure Jodorowsky and for his fans that should be more than enough.

 

 

Manifesto

 

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Manifesto (Julian Rosefeldt, 2017)

 

Advancement of technology in film is a constant, and thus, the horizons of its boundaries as an art are also ever expanding. For the first time in my life, I really had to contend with whether a single screen theater was limiting for a motion picture. Julian Rosefeltd’s film, or more appropriately, cinematic art piece, Manifesto is a movie which was exhibited in two different forms, both vastly changing the structure and therefore the perception of the piece as “cinema”. It was first released in the Australian Center for the Moving Image in a gallery setting which showcases Cate Blanchette, playing 13 different roles, on different screens throughout the room and reciting 13 different manifestos on the idea of “art” itself. As you walk deeper, the voices of her different characters start to create a conversation or argument, or as Jane Howard put it in The Daily Review, “an unspoken stand-off”. This is an experience, a three-dimensional space which takes the 2-D cinematic image and echoes it to and from us in multiple directions. It’s a cinematic piece you literally walk through, experience as you are in motion in real time, in the real world.

Suffice to say, this is not how I personally experienced this film, and it brought about limitations and complications which again, made it clear that a single-screen theater was inadequate in showcasing the new horizons of what artists can do with the film medium. Manifesto, the 90-minute popcorn motion picture, is not much more than a long-string cut-and-paste rant. Out of the 13 different sermons you sit through, the only one which made any sense in the traditional theater setting was the news broadcast because, well, by its definition it is to be watched motionless in a single sitting. Rosefeltd’s writing is clearly passionate and clearly demonstrates a deep understanding of art history and it’s underlying philosophies, all of which are masterfully recited by Blanchette who, in many cases hams it up (perhaps the nature of the piece is to be satirical of art), but also manages to embody the writing in her movements and her biggest asset as an actress, her eyes.

 

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Australian Center for the Moving Image opening showcase of Manifesto.

 

It was clear, however, that I was watching something that begged to be limitless, not constrained in a traditional movie theater and demanded its viewers to not be sitting on their asses munching on popcorn for 90 minutes. It perplexes me why Rosefeldt would want his film to be shown in this setting after two highly-touted exhibits in Australia and Berlin which captured the essence of the project’s ambition: to create a cinema which architecturally invades us through all its forms, visual, audial, and as interaction with the viewer. If the gallery exhibit was like riding a rollercoaster in an amusement park, the theater screening which I sat through was more like someone reading me the entire pamphlet or brochure for Six Flags. Maybe this was the point. By showing the project in both areas, Rosefeldt can illuminate the limitations of the theater complex itself. If film is to enter a new horizon as and artistic medium, then Rosefeldt is claiming its current home of the movie theater is not sufficient.