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The New Serial Cinema

The New Serial Cinema (photo)

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Film serials go back to the earliest days of cinema — think “Perils of Pauline” cliffhangers or the exploits of French criminal mastermind “Fantômas,” unspooling in theaters in weekly installments. More recently, a new kind of serial cinema has emerged. Less reminiscent of those silent movies or the Hollywood franchises of Harry Potter or James Bond — themselves a kind of large-scale, ever-expanding serial — these news works are film compilations more akin to the networked complexity of the best of contemporary episodic television. It’s no surprise then that the latest example of the form, the British import “Red Riding Trilogy,” was originally made for UK broadcast. (The film series will appear this week in U.S. theaters, but fittingly, on VOD, as well.)

What separates these movies from say, the further adventures of Indiana Jones or Francis Ford Coppola’s “Godfather” trilogy, is that the uniting force tying them all together isn’t an individual hero but instead a setting — e.g. the mean Baltimore streets and bureaucracies of “The Wire” — or a theme, or an all-encompassing mood.

01202010_Pusher.jpgBut they’re not television, either. Though originally conceived to air on TV, the creators of the “Red Riding Trilogy” were filmmakers, and always thought of the work as closer to cinema. Nicolas Winding Refn, director of the “Pusher” trilogy — another connected collection of movies, centering on the desperate criminal underground in Denmark and made in 1996, 2004 and 2005 — also eschews television comparisons. He says TV would reduce “the stillness, the complexity” of the work. “It would be more traditional,” he explains. “By making them as features, I was able to make them part of an organization with individual units.”

Likewise, the “Red Riding” films, based on a quartet of novels by David Peace, work like a set of subatomic particles — functioning both alone and as a single unit, colliding and connecting with one another. (The chemistry term “multivalent” has been used to describe this type of intricate sequential cinema.)

All set in the same murky, neo-noir environs of Yorkshire, England over the course of nine years, the “Red Riding Trilogy” begins with “1977,” which follows a young hotshot reporter investigating a series of child murders. The second, “1980,” is about a Manchester inspector’s inquiry into the Yorkshire police’s handling of another serial killer. The third, “1983,” dovetails with the first in its chronicle of a guilt-ridden Yorkshire chief detective who put the wrong man behind bars for the ’77 killings. Minor characters lurking on the fringes of the first part take on greater prominence in the second and third installments. In the later episodes, flashbacks to the earlier films further interweave the tales. And yet each one also stands on its own.

01202010_RedRidingTrilogy3.jpg“I was trying to shape each one individually and then at the same time keep enough strands running across them,” says screenwriter Tony Grisoni, who wrote the three screenplays, in addition to another, “1974,” that was never filmed because of financial constraints. “So gradually you build up a huge, multi-layered world that is not finite, where you feel that these people have other lives outside of the drama and you’re constantly being surprised by who knows who and what the connections are.”

Repeat viewing of the films, Grisoni hopes, will elicit new discoveries. “A lot of it is left in the dark, and that was a central part of the darkness of those narratives,” he explains, likening the stories to 17th century Jacobian tragedy, with its conspiracies, corruption and violence. “It was never just about the terrible things you witnessed; it was more about the terrible things you didn’t witness.”

This open-ended intermixing of narratives and characters, coincidences and connections, has its own links to the work of Polish director Krzysztof Kieślowski. His landmark 1989 10-part Polish television series “Decalogue,” based on the Ten Commandments, and his much-acclaimed “Three Colors” trilogy, inspired by the French national motto “liberté, égalité, fraternité,” are similarly constructed as singular parts of a whole, with intermingled characters and a serial form that is itself integral to the experience of the projects.

As Annette Insdorf, author of “Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski,” puts it, by choosing a minimum of three stories, Kieslowski “opens things up, implying an open horizon, a multiplicity of perspectives.” And in so doing, he “implies a refusal to choose one as the sole reality.”

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Give Back

Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

It’s the final countdown to Christmas and thanks to IFC’s movie marathon all Christmas Eve and Christmas Day, you can revel in classic ’80s films AND find inspiration for your last-minute gifts. Here are our recommendations, if you need a head start:

Musical Instrument

Great analog entertainment substitute when you refuse to give your kid the Nintendo Switch they’ve been drooling over.

Breakfast In Bed

Any significant other or child would appreciate these Uncle Buck-approved flapjacks. Just make sure you’re not stuck on clean up duty.

Cocktail Supplies

You’ll need them to get through the holidays.

Dance Lessons

So you can learn to shake-shake-shake (unless you know ghosts willing to lend a hand).

Comfy Clothes

With all the holiday meals, there may be some…embigenning.

Get even more great inspiration all Christmas Eve and Day on IFC, and remember…

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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GIFs via Giphy

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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