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Drawing Out Memory

Drawing Out Memory (photo)

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Nobody saw it coming — the most unique film of 2008-09 was a head-shaking Israeli fugue between social documentary and digital animated epic. Ari Folman’s “Waltz with Bashir” is also a direct address of a modern atrocity Americans have all but forgotten, if they knew about it at all: the Sabra and Shatila refugee massacre of 1982, the politics of which were perhaps always a little too tangled to suit American news media. But, anyway, can a documentary be animated? The moment you create a film frame by frame, how close could it be to even a historical truth?

Folman’s movie, heralded around the globe but still underseen, is all about contradictions — its textural craziness corresponds eloquently with the knotted ethical dilemmas at the story’s core. The movie comes at you like a lysergic drug that targets your optic nerves: from the opening, as we zoom along at ground level with a pack of ravenous, fanged dogs running through the Tel Aviv streets under a stormy yellow sky, drawn and animated with high-contrast, nightmarish surreality, it’s clear that “Bashir” looks and feels unlike any other film. It’s difficult to pin down exactly how the film was manufactured — cartoonish, digitally fluid, painterly and journalistic, all at once — and the disarming visual tide of it is enough to brand it upon your brain. As a subjective portrait of the hallucinogenic experience of war, it’s poetic and expressive in a brand new way.

The dogs are part of a dream — the dream of an Israeli soldier who, years earlier amid the invasion of Lebanon, couldn’t shoot people and so was given the thankless task of shooting watchdogs instead, all 26 of which hunt him in his sleep. The soldier is just one compatriot sought out by Folman, who, 25 years after serving in the army and being present for the ’82 massacre, cannot remember a thing about it. So he interviewed friends from that time, and friends of friends, to find out what happened and, by extension, why he’s suppressed the memories. The interviews, transformed after the fact, became the baseline of the film, as animated versions of very real people speak with an animated Folman about the invasion and the heady, Menachem Begin-led days of Israeli empowerment.

Most of Folman’s film is comprised of those reminiscences, vividly captured in a dazzling, almost exhausting cataract of visual invention. The tableaux — entire landscapes scorched by bombings, a downed pilot’s sea-lost hallucination of a giant naked woman, an international airport wrecked and abandoned after an aerial attack, a lingering stream of blood running from the back door of an armored vehicle — could hardly have been rendered so energetically, or indeed rendered at all, in a modestly budgeted live-action film. Points of view are always shifting, time frames meld, what the soldiers think they saw supplants the reality.

06232009_WaltzWithBashir2.jpgMemory cannot be photographed, after all. But it can be drawn, or puppeteered. Folman’s own recurrent dream image is of fiery lights falling softly from the night sky; they’re remembered by various characters as rocket fire and a meteor shower, but only later do we (and Folman’s avatar) understand what they actually were: flares the Israeli soldiers shot to illuminate the sky above the Sabra and Shatila refugee camps, passively allowing the Christian Lebanese Phalangists to carry out their bloody work. (The history behind the incident scans like a typical escalation catastrophe: after Israel had invaded in 1982 in order to assault PLO strongholds, the Christian militia leader (and Israel schmoozer) Bashir Gemayel was narrowly elected prime minister of Lebanon, then quickly assassinated by Syrian operatives. Two days later, Gemayel’s Phalangist militias, with the cooperation of the occupying Israelis, slaughtered 2,000 Palestinian refugees, an act that dwarfed the PLO’s car bombings in every way and drew international scorn. There’s the waltz: the Israeli army (all young, naïve conscriptees) hovered close but did not touch, leading but otherwise merely following the proscribed dance steps.)

After seeing too many recent Israeli films (including quite a few good ones) that waffle about the Israeli-Palestinian question, and that too often adopt a “Crash”-like, can’t-we-just-get-along centrism, “Bashir”‘s attempt to mediate a howling sense of cultural guilt came as a surprise to me. Folman won’t let us, and his Israeli audiences, miss the point: the climactic chunk of the film reverts to stock footage of the dead refugees (including children’s body parts jutting out of rubble, exactly as discussed by the animated characters earlier), and it’s a thundering exclamation point to an already searing experience.

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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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