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Likewise, Berman threw half of the material he filmed for “The Anomaly” away, added new animation sequences, and wrote a new voiceover in post-production. “As many little pictures that you draw or scripts that you write, you really don’t know what you’re going to have until you finish it,” Berman says. “And that’s what’s so exhilarating about...
...ODDSAC” opens upon a distraught girl alone in a wallpapered room. As heightening drum beats pound away, the girl begins to frantically tear wallpaper off the walls unleashing a profusion of slick mud, in a scene that invokes Perkins Gillman’s story “The Yellow Wallpaper.” The mud torrent is seemingly unstoppable, despite the girl’s frantic struggles, and as the mud continues pouring, the profusion of bizarre sounds increase in volume and fury. The successful unity of the visuals and sound trigger intense emotional responses, arousing feelings even...
...understand that native people are their friends, their colleagues, their coworkers,” he says. “Often native communities are locked in people’s opinion in an historical context, so that’s one of the things we hope people will take away. We hope they’ll see their peers in a slightly different context...
Such lazy inertia, exemplified by a drawn-out pan of the pupils lying on the grass in sundresses on a summer day, is struck away with a vengeance, though, as “Cracks” turns nightmarish in its final act. Ultimately, the story is a sordid one. As the film ends, the plot veers onto such a wild, jolting track that the cheeks redden and the hand flies to cover the gaping mouth. But somehow, though “Cracks” turns out to be a nasty little shocker, it does not feel like trash...
Meyer is more explicit about the controversial aspects of Lord’s work. “Even today,” he says, “most American art museums would shy away from a show focused on queer culture. Museum trustees and directors, especially behind closed doors, remain fairly conservative and risk-averse...