Lights, Camera, Bullshit (2014)
14 years afterwards starring in The Poor And Hungry, Eric Tate abutting administrator Chad Allen Barton and Piano Man Pictures to casting a abusive eye on the accomplished indie blur thing. Tate stars as a filmmaker who comes to Memphis to accomplish art, but finds himself consistently aberrate by added absurd obstacles. His bang-up is a delusional cheat who wants to break in business admitting the actuality that his business has actually austere to the ground. And he actuality bolter by a agitator alignment who abrasion masks of Presidents. Lights, Camera, Bullshit is a bewilderment of jokes and old academy indie surrealism that takes on the allegory of the arrogant auteur. Tate puts himself in the attitude of Buster Keaton or Harold Lloyd as the aftermost sane man in a apple gone nuts.
Comments from voters:
“The blasphemy of the adventure to all things political as a subplot. The capital artifice was interesting, ambidextrous with a ability athirst almanac ambassador who hires a adolescent man to assignment on a blur who has his own ideas…. the adapted casting with so abounding accomplished performances. The Memphis locations were additionally a highlight…Also abundant photography.”
Movement Location (2014)
Lots of bodies appetite to move to the big city, reinvent themselves, and balloon their accomplished life. That’s Kim Getty’s (Bodine Boling) plan aback she arrives in Brooklyn. What’s altered about Kim is that she’s from 400 years in the future, a time aback the planet is overcrowded, assets are deficient and activity is miserable. Who wouldn’t appetite to go aback to the affluence of the aboriginal 21st century, aback there was abundant apple-pie baptize to abscess pasta? The botheration is the past—which is to say, the future—is not done with Kim yet. Movement Location is directed by Alexis Boling, and the aggregate of atramentous astriction and Bodine’s acute achievement fabricated this low-budget sci fi a big Indie Memphis hit.
The Keepers (2015)
Larson and Selvidge started their anniversary run with a win at the Nashville Blur Anniversary and fabricated it two for two at Indie Memphis. The director/producers hustled to transform their anniversary wins into added success. “We were able to defended civic distribution, which was huge. We formed at that. We were approached by a brace of bodies who anticipation it seemed like an absorbing film…” afore signing with Vigil, Selvidge says.
Now on Hulu, the blur got a name change to See The Keepers: At The Zoo. Selvidge and Larson were afresh approached by Real South to air the blur on added than 200 PBS stations beyond the country, and possibly internationally as well. The brace are currently aback in the alteration allowance creating a 56 minute TV version.
The Keepers – Anniversary Trailer from True Adventure Pictures on Vimeo.
Voter comment: “One of my admired films of the aeon so far, from its resplendently photographed Christmas-mode aeon accouterment to its aching announcement of bond anxious to its “Brief Encounter” appropriation structure, “Carol” is my abstraction of authentic heaven. It’s a coming-of-age adventure AND a midlife reckoning in which neither advance is a navel-gazing, annoyed man, and one of whom is Cate Blanchett. Charge I say more?”
Cameraperson (2016)Every filmmaker finds out bound that you accept to bandy out altogether acceptable actual in adjustment to accomplish the accomplished blur stronger. Cinematographer Kirsten Johnson adored memorable shots and moments that didn’t accomplish the cut from her twenty year career cutting all over the world, and again put them all calm in this accolade to the affecting ability of collage. Cameraperson is one of my claimed admired documentaries anytime to awning at Indie Memphis, and I was animated to see I wasn’t the alone one that acquainted that way.
Voter comment:”This documentary pissed me off and fabricated me feel hopeless, but it additionally encouraged me to allocution to strangers about these feelings. Our civic aloofness (veiled contempt?) directed against women and their actual bureau is unacceptable, decidedly aback it comes to poor women of color. Jackson didn’t flinch.”
“On The Sufferings Of The World” (2016)
“Ben Siler was consistently an unsung hero for me in Memphis movie-making. His aberrant and accidentally agitating abbreviate films were consistently favorites of mine.”
“Just aggregate Ben Siler’s done. He’s one of the few filmmakers, in Memphis or elsewhere, with a absolutely altered voice.”
“Ben Siler should be at the top of every list. I admire him as an beginning filmmaker.”
“Ben Siler is actually a ability and all of his films should be in the Smithsonian.”
The Siler blur that closes out our account of Indie Memphis’ Greatest Hits is one of the best abolitionist works anytime produced in the Bluff City. Funded by IndieGrant, a affairs amorphous in 2014 to accord aggressive grants to Memphis filmmakers, it’s a accord amid admiral Siler, Edward Valibus, actresses Jessica Morgan and Alexis Grace that started aback Siler capital to ally images with philosopher Arthur Shopenhaur’s article “On The Sufferings of the World”. It’s best arresting feature, the layers of images that are agnate but not absolutely the same, came about aback Valibus and Siler were aggravating to accommodate altered cuts of the film. It’s a haunting, admirable end to our attendant of the best films of indie Memphis’ aboriginal twenty years.
On the Sufferings of the Apple from Edward Valibus on Vimeo.
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