Friday, June 18, 2021

THE UNSPEAKABLE ACT



The last thing I want to do is make a movie review all about myself. Especially when the movie has absolutely nothing to do with me (it's ok to get personal sometimes but I don't like when critics have to make everything solely about them). But - and I honestly say this without being vain - I think I'm the perfect audience for Dan Sallitt's The Unspeakable Act. The story about a decent-sized family that also involves a serious incestuous attachment between two of the siblings (“Jackie” & “Matthew”) is incredibly alien to someone with no siblings (me) from a small family (it was just me, my mother and my father). I can watch this movie without any personal attachments that might skew my opinion. 
I guess what I’m trying to say is if you have a sibling and you watch a deeply personal film like this, I just assume your mind automatically forces you to think of yourself and a sibling in the same scenario as Jackie & Matthew. Even momentarily. That’s just how the brain works. 
While I do think having a borderline obsessive attachment to anyone is unhealthy (especially a sibling) I don’t have that point of reference when it comes to a brother or a sister because I don’t have one which makes my, or any only child’s perspective on this film, a little more unique.
I’m also not saying that having a sibling makes this film-viewing experience “better” either. I just sometimes wonder how truly weird & fascinating siblings are to only children. 
A normal-seeming relationship between two siblings is fascinating enough (I've said this before on here when it comes to films about siblings). So a semi-deadpan story that explores incestuous feelings between a brother & sister without making it too “shocking” is even more fascinating.


This is hardly the first story to explore romantic intimacy between a brother and a sister. It’s a story as old as time. But what I will say about this film is that it’s the first semi-recent work in a while to tackle the subject matter in an almost “normalized” way. And that’s not a criticism. That’s a compliment. The subject matter is uncomfortable but it’s handled with care. I think this film is excellent. 
I enjoyed it when I first saw it almost 9 years ago, and after watching Sallitt’s excellent film; Fourteen (which also features Unspeakable Act star Tallie Medel), I have an even better understanding & appreciation for Sallitt’s work.
I don’t want to repeat myself too much. Most of my general thoughts about this movie have already been expressed in other reviews on films that are adjacent to The Unspeakable Act (see my sibling-related thoughts on everything from Nenette & Boni to Love Streams).


Discovering Sallitt’s influences played a major role in my newfound appreciation for The Unspeakable Act. Any time something modern is considered “deadpan” it draws an immediate comparison to the usual suspects like; Bresson, Jarmusch and Akerman. I’m guilty of that myself. 
Hell - I think an Akerman connection (which is probably unintentional) is fitting here. But that's just me and how my brain works...

Jeanne Dielman... / The Unspeakable Act

Jeanne Dielman... / The Unspeakable Act

Jeanne Dielman... / The Unspeakable Act


I did come across this old online correspondence (below) of Dan Sallitt recommending some of Akerman’s work. That could hold some subconscious weight, but even I know that when a filmmaker enjoys someone’s movies that doesn’t mean they’re going to try and copy them...




I came to learn that it was Eric Rohmer who really influenced Sallitt (although only mostly on a visual level)...

Christopher Small (Gorillafilmonline): I think as good a place to start as any would probably be Eric Rohmer and the Rohmer influence on The Unspeakable Act. He seems to be brought up a lot surrounding this film, partly because of the dedication after the closing credits and partly because the style we have come to associate with “Eric Rohmer” provides a good framework for appreciating many of the things you are doing in this film. Do you see yourself working in the Rohmer tradition particularly?

Dan Sallitt: Yeah, I do. Not in the kind of stories I tell, but in my way of composing, using sound, lighting, cutting. And when I first got interested in making movies, he legitimized long dialogue scenes for me. Somehow it was always him I used as a model, not the other directors I loved. I think Rohmer found the simplest and most elegant balance between the fictional and the documentary aspects of cinema: his style is a simple instrument designed to do one thing, to shift our attention back and forth from one aspect to the other.
I think dialogue functions for me a lot like the way it does for Rohmer: as a form of realism. The people in my films talk constantly, not because I have plenty to say to the audience, but because people talk a lot in life 



Sallitt goes on to further explain and distance himself from Rohmer to some degree (while the Rohmer influence is there on a visual level, The Unspeakable Act is still very much a Dan Sallitt film and no one else’s)…

I didn’t mean to force a comparison to Rohmer with that dedication. I did it because he had died recently and I wanted us to remember him. I guess I wound up guiding people’s response more than I’d intended - Dan Sallitt, Gorillafilmonline.com


These quotes & interview passages make perfect sense when you compare images from Rohmer’s work with Sallitt’s.

Note the similarity in the decor of both scenes, the camera movements and the movements of the actors between these two particular scenes:
A Good Marriage /
The Unspeakable Act

A Good Marriage /
The Unspeakable Act

A Good Marriage /
The Unspeakable Act

A Good Marriage /
The Unspeakable Act

A Good Marriage /
The Unspeakable Act


The Rohmer connection was further discussed with Sallitt when he appeared on our podcast last year (click here to listen).


Another thing that sets The Unspeakable Act apart from the (possible) influences (both conscious and subconscious), is that Sallitt’s films show a specific slice of modern American life (modern-day Brooklyn to be specific) that couldn’t really be found in the films of Akerman or Rohmer.

And I don’t mean to bring down other films in an effort to compliment another (I won’t get specific and name names), but it’s clear to me that films like The Unspeakable Act & Fourteen come from a mature perspective with well-mapped out & deceptively dense/powerful dialogue that can’t be found in certain contemporary American independent films that some critics have attached to Sallitt’s work in the past decade. Outside of just the incest & taboo feelings, Sallitt quietly explores the relationships between mothers & daughter, the relationships between women and their brother’s girlfriends and even the importance of therapy for some people. It's also very impressive to me how an older adult man like Sallitt can pull off successful stories about young women. 
The Unspeakable Act isn’t mumblecore or even post-mumblecore (looking back, I don’t even think people knew exactly what mumblecore even was). In fact, the only film that should truly be attached to The Unspeakable Act is Sallitt’s own follow-up; Fourteen, which, to me, takes place in the same cinematic universe (read my thoughts on Fourteen here).

Sunday, June 6, 2021

THE SCHOOL OF CHANTAL AKERMAN: JIM JARMUSCH


News From Home /
Permanent Vacation


It's no mystery that Jim Jarmusch is open about who and what he borrows/steals from...

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to. - Jim Jarmusch


But if we're getting specific, Chantal Akerman might be one of the top 5 (possibly top 3) directors that he references. Both intentionally and subconsciously...

Do you know a film she made called Toute Une Nuit? It all takes place in one night and keeps jumping among different characters and back around. It's really a beautiful film. It's one of my favorites of hers - Jim Jarmusch


Everyone from critics...

No doubt Jim Jarmucsh was taking notes - Scott Tobias on Akerman's influence

With its dislocated travelogue, Stranger Than Paradise suggests Wenders’s Kings of the Road; the transcendently shabby moonscapes evoke Chantal Akerman’s News from Home, and the absence of reverse angles her Jeanne Dielman; while the shaggy-dog narrative and vignette structure are anticipated by Jim Benning’s 8 1/2 x 11 and 11 x 14 - J Hoberman


to Akerman herself all seem to agree...

Oh he [Jim Jarmusch] takes everything from me - Chantal Akerman


Enjoy...


Toute Une Nuit / Down By Law

News From Home / Permanent Vacation

Les Rendezvous D'Anna /
Mystery Train

Les Rendezvous D'Anna /
Mystery Train

Les Rendezvous D'Anna /
Mystery Train

Toute Une Nuit /
Stranger Than Paradise
Toute Une Nuit /
Stranger Than Paradise

Toute Une Nuit /
Stranger Than Paradise

Toute Une Nuit /
Mystery Train

Toute Une Nuit /
Mystery Train

Toute Une Nuit /
Mystery Train

Les Rendezvous D'Anna /
Vers Nancy


Saute Ma Ville / Stranger Than Paradise

Les Rendezvous D'Anna /
Mystery Train

Toute Une Nuite /
Mystery Train

Toute Une Nuite /
Mystery Train

Jeanne Dielman... /
Stranger Than Paradise

Je Tu Il Elle /
Strangers Than Paradise

Saute Ma Ville /
Permanent Vacation

The Family Business / Mystery Train



It should also be noted that the admiration between the filmmakers was reciprocal as Akerman probably borrowed (back) from Jarmusch herself...

Mystery Train / J'ai Faim, J'ai Froid

Stranger Than Paradise /
J'ai Faim, J'ai Froid

Stranger Than Paradise /
J'ai Faim, J'ai Froid

Stranger Than Paradise /
J'ai Faim, J'ai Froid

Stranger Than Paradise /
J'ai Faim, J'ai Froid

Stranger Than Paradise /
J'ai Faim, J'ai Froid



Tuesday, June 1, 2021

FYC: TOWARDS A CINEMATIC ART - THE FILMS OF MAYA DEREN



I was fortunate enough to be part of a Maya Deren retrospective recently where I spoke about her influence on cinema. 
Below is my written introduction along with a link (click here or the image) to view the pre-recorded version of the show.

Enjoy...


From Alfred Hitchcock & Fritz Lang to Chantal Akerman & Steven Spielberg - the phrase “influential” gets thrown around a lot. Some films and filmmakers are so imbedded in to our psyche that we don’t even realize the influence. I think it’s important to get to the source of the influence (or as close to the source as possible) as it’s one lane of film history. It’s important to know where things come from.
In recent years there’s been more visual examples & visual essays showing influence between films and/or specific scenes, but for a long time criticism & analysis stopped either at a written assessment or just the phrase; “influential”. But it’s important (and kind of cool) to have images/gifs/videos next to each other to further hammer things home.

While Maya Deren didn’t invent cinema (and has plenty of influences herself), she’s still a very important figure in pushing the art forward. And not just in experimental or “art house” film. Her work has influenced everything from mainstream cinema to music videos.

If you’re familiar with Maya Deren and the idea of her being influential then chances are you’re aware of the ongoing connection between the imagery in her films and the films of David Lynch (we’ll see a few examples of this this).

But it doesn’t just stop there.

From Apchitapong Weerasethakul:

“It was very much influenced — in the structure, in the frames — by Maya Deren. She still influences me.” - Apichatpong Weerasethakul

To Bertrand Bonello:

the work of Maya Deren, of course, is one of the most accomplished on how to approach voodoo ceremonies” - Bertrand Bonello

Maya Deren’s influence is everywhere.

Some of the comparisons you'll see in the video are based on fact/direct quotes/research/etc.
Other comparisons are total speculation but they’re based on what I like to consider; “smart speculation”

Enjoy...

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