It doesn't surprise us anymore when the good people over at Turtleneckfilms writes a well-written piece about movies, because we've seen them do it several times over. And it always is fun to read, no matter if your film is getting love or isn't (most recently, they wrote a very thoughtful, meticulous piece on Ryan Balas's second film Carter, easily my favorite review of the film). Here, Tom Russell reflects on Princeton Holt's Cookies & Cream with some of his thoughts on his experience watching it.
Make sure you head over to their blog where you can purchase their films (one of them Im still waiting to see so I will be buying a copy). They are finishing their latest feature now. Or, if you are in the mood to read some really interesting reflections about other films, as well as some funny behind the scenes info on their films Son of a Seahorse and Olivia Forever, head over there after you read this.
Here is a little of their piece on Cookies & Cream:
"Holt seldom strives for effect or tries to punch it up. It's mock-verite/gonzo porn opening aside, there's thankfully very little of the deliberately ugly shaky-cam aesthetic that's infested the current American independent cinema. As I've written elsewhere, the shaky-cam approach is a schizoid one because it untethers its subjects from the everyday reality it so desperately wants to capture, presenting us not with people and bodies moving through time and space but with fractions of faces, headless slivers jittering about.
Cookies and Cream, in contrast, presents us with people, often head-to-toe, listening to and observing them patiently. Holt is so patient, in fact, and so confident that his characters will reward the viewer's patience, that he sometimes apes one of Woody Allen's best tricks by staging parts of his dialogue scenes with the actors out of the camera's range."
Read the full piece HERE.
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