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“Symbiopsychotaxiplasm,” the Wim Wenders Box

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By Michael Atkinson

IFC News

[Photo: “Symbiopsychotaxiplasm: Take One,” Criterion]

A legendary but unreleased phantom from the crazy, hazy summer of 1968 that finally got a nominal theatrical release last year, William Greaves’ “Symbiopsychotaxiplasm: Take One” may be the ultimate paradigm of self-reflexive cinema, eating Godard’s tail for him and one-upping the classic Chuck Jones anti-cartoon “Duck Amuck” by submitting to a natural entropy and a self-inquiry so relentless the movie never moves from square one. The suave, implacably jovial Greaves plays Greaves playing a vague indie filmmaker shooting a film about marital rupture in Central Park. With three mutually interrogating cameras going at all times, the set and surrounding passersby (including cops) get folded into the meta-vérité mix, which is often prismed out for us as a split-screen triptych. Eventually, the discontented and cerebral crew begin filming themselves complaining about Greaves (and his script) when he’s not there, scenes that are sometimes cut up by Greaves later on — in entire chunks of the film, shooting and editing are actions in deep conflict with each other. Or so it’s made to seem, or made to seem possible. “Stop acting!” someone hollers early on; the magical moment when we see two simultaneous shots get refocused on distractions (a squad car, the actress’ legs) is trumped only by the sound team’s scathing critique of Greaves’s “acting” — on and off-camera.

Was it life, Memorex or something else? Bewitched by the process of turning our perception of movies and the priorities of a viewer’s “knowledge” inside out, Greaves had no intentions of stopping: as the title implies, “Take One” was supposed to only the first of up to five movies derived from the same pool of ’68 footage, of which there is presumably a great amount. The project never happened that way; instead, Greaves spent the decades on smaller films (many of them educational), and only in 2005 did a second “take” emerge at the Sundance Film Festival (“2 1/2,” actually), produced by Steven Soderbergh and Steve Buscemi, adding the passage of time to its hall of mirrors, and featuring contemporary footage about the history of the first film folded into the batter. Aptly, Criterion rescues both “Symbiopsychotaxiplasms” for good from the dark vault of moviegoing amnesia, on two discs, with additional interviews, docs and Greaves’s own production notes.

Another veteran of the Nixon-‘Nam postwar culture tussles, Wim Wenders was once a legitimate rival for the New German Cinema kingship alongside Werner Herzog and Rainer Werner Fassbinder. He has since spent over a decade in Hollywood, falling in love with California, Sam Shepard, noir clichés and roadhouse jukebox music, only to return to Germany last year, but if one need be reminded of Wenders’s once prodigious talents, or if one remembers acutely where they were when they first saw “The American Friend” (1977) or “Wings of Desire” (1987), then one could do worse, at holiday gift time, then to cunningly mention the new eight-disc Wenders box to your shopping-crazed loved ones. Adapted from the Patricia Highsmith novel, “Friend” is a masterful, oddly epochal tale of criminal doom (starring Dennis Hopper as the titular, untrustworthy acquaintance, and Bruno Ganz as a principled frame craftsman sucked into underworld business) that is at the same time bouncy with in-jokes and cinephilic references. But the box also rolls out with Wenders’s deeply strange and confrontational adaptation of “The Scarlet Letter” (1972); the Peter Handke-scripted (from Goethe!) “Wrong Move” (1975); the ailing-Nicholas Ray-codirected semi-doc and homage “Lightning Over Water” (1980); the famous non-fiction essays “Tokyo-Ga” (1985) and “Notebook on Cities and Clothes” (1989), and more. Supps include a shotgun spray of deleted scenes, commentaries, new interviews and trailers, as well as a videotaped lecture by Ray and a booklet on all eight films by critic Godfrey Cheshire.

“Symbiopsychotaxiplasm: Take One” (Criterion) and “The Wim Wenders Collection, Vol. 2” (Anchor Bay) will be available on DVD on December 5th.

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.


Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…


IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.


IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).


IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.


IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.


IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.



IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on and the IFC app.

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