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HIDDEN
The paranoid universe of Michael Haneke
by PAUL ARTHUR

SCORSESE’S DYLAN
One great American artist scrutinizes another in No Direction Home
by AMY TAUBIN

ROBERT WISE
Appreciating a late occasional auteur
by RICHARD COMBS

PETER LORRE
The face
by ELFRIEDE JELINEK
The voice
by J. HOBERMAN

MORGAN FISHER
On the great structural materialist
by JIM SUPANICK

INNOCENCE
Lucile Hadzihalilovic’s mesmerizing dreamwork
by VIVIAN SOBCHACK

THE CINEMA OF EXTREMITY
Over the edge: from The Furies to Pistol Opera
by HOWARD HAMPTON

DEPARTMENTS

OPENING SHOTS

News, Guy Maddin’s Jolly Corner, Errol Morris’s Guilty Pleasures, and Distributor Wanted: Mutual Appreciation by AMY TAUBIN

OLAF’S WORLD
Chor Yuen

JOURNAL
Prague

FESTIVALS
Venice & Toronto

SOUND AND VISION
Ennio Morricone & Olivo Barbieri, Plus, an ONLINE EXCLUSIVE: An interview with the legendary founder of the Sun City Girls, Alan Bishop by CHRIS CHANG

SCREENINGS
Unseen Cinema, Brokeback Mountain, Breakfast on Pluto, Good Morning, Night, and Walk the Line

READINGS
Greta Garbo: A Cinematic Legacy and more

HOME MOVIES
The latest DVD releases

 
November/December 2005


ROHMER IN WILLIAMSBURG
Distributor Wanted: Mutual Appreciation
by Amy Taubin




I bet Andrew Bujalski is sick of reading that he’s the voice of his generation, when most of that neo-slacker demographic has never had the opportunity to see his films. Bujalski’s debut feature, Funny Ha Ha, had a three-year festival wind-up to a privately financed 35mm theatrical release this past spring. It’s now available on a Wellspring DVD with a hilarious commentary track by Bujalski that makes it a must-purchase, even for those who’ve seen the film multiple times. (Bujalski’s fans, this critic included, are nothing if not ardent.) Now it seems that the 26-year-old filmmaker may have no choice but to reprise Funny Ha Ha’s slow route to a theater not necessarily near you with his similarly seductive second feature, Mutual Appreciation. But if I were a member of that nearly extinct species known as “indie distributor,” I’d note the facts that Funny Ha Ha’s frugal release did indeed turn a profit and that the critical attention Bujalski garnered, including an IFP Spirit Award, is bankable.

Like Funny Ha Ha, Mutual Appreciation is hardly your standard Amerindie (most of which, by the way, are box-office losers). For one thing, it’s shot on 16mm black-and-white, thus confirming Bujalski’s allegiance to a strain of maverick films—Shadows, Stranger than Paradise, Clerks—that bring poignantly accurate renditions of subcultures of which their directors have intimate knowledge to otherwise homogenized screens. While Cassavetes is the most obvious influence, one might also regard Funny Ha Ha and Mutual Appreciationas Rohmer without subtitles. Both films are “moral tales” whose characters leap to language as offense and defense. In Mutual Appreciation, Alan, an aspiring alt-rocker, arrives in Williamsburg with nothing more than the promise of a gig at Northsix. Exchanging the enchanting Marnie of Funny Ha Ha for the scruffy, less formed Alan allows Bujalski to darken these further adventures in the liminal zone between college and adulthood with a subterranean castration anxiety. Alan ventures down a couple of weird New York rabbit holes in addition to disrupting the relationship between his old college pal and the pal’s girlfriend. The unvarnished actors, including Bujalski as the pal who’s unsure of whether heís being betrayed or not, could not be better.

Sales Agent: houston_king@hotmail.com (323-850-2757)

© 2005 by Amy Taubin

Click to read Amy Taubin's earlier article on Funny Ha Ha.

 



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