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First Impressionism

First Impressionism (photo)

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Already justly celebrated everywhere, Steve McQueen’s “Hunger” is a historical scald, a chillingly powerful portrait of state violence, a serious import about authentic political rebellion that frankly contemplates the psyches of both the oppressed and the victimizers, and one of last year’s best films by any measure. But how to write about it so that it seems like the electromagnetic experience it is, without making it sound like just another in a long line of recent elliptical art films?

Honestly, efforts to evoke McQueen’s idiosyncratic choices make them sound not so idiosyncratic at all, more or less in the wheelhouse of “Ballast,” “Still Life,” “Silent Light,” “Gomorrah,” “The Headless Woman,” “Three Monkeys,” “Lorna’s Silence,” “Tulpan,” “The Sun,” “Import/Export,” and even genre films like “The Broken,” “Vinyan,” “Grace” and “Revanche.” Which makes “Hunger” sound, gulp, derivative, which it simply ain’t.

All we need to do, I think, is stop defining all of these films by what they aren’t. From the first landings of Kiarostami in the late ’80s, and Hou and Tsai and Tarr in the ’90s, and the subsequent influx of neo-realist enigmatists like the Dardennes, Dumont, Denis, Lodge Kerrigan and, most vitally, Jia Zhangke, these rarefied movies have been categorized largely by the orthodox movie ingredients they lack — exposition, omniscience, narrative transparency, familiar structure, loads of dialogue. Tough as it may seem, these movies should be extolled to a lay audience for their own richness, not for their resistance to showbiz reflexes.

02232010_Hunger3.jpgI wouldn’t want to suggest that it’s a unified global style (not any more or less than the New Wave antics that circled the Earth in the ’60s), but insofar as it has roots in Antonioni’s rocky soil, it’s also a new vibe, one that prioritizes rawness of experience over clarity, silence over explanations, impressionistic impact over plot. Ellipses are only a means to their own discombobulating end. Can we call this Impressionism? (Cinema’s had expressionisms and modernisms and abstractionisms, but never an Impressionism.) Should we label it at all? Why not?

McQueen’s movie is a masterpiece of the movement — chronicling the life of the IRA prisoners in the Maze Prison in 1981 that led to the hunger strike led by Bobby Sands (Michael Fassbender), “Hunger” is a harrowing ordeal broken up so you’re never able to anticipate how the violence and the timeline will present themselves. The details are practically odiferous, but the form of the movie is a model of cause-effect political cinema — it’s divided to three distinct sections, and the first, in which the guards brutalize the prisoners inside and out and the prisoners respond with acts of defiance that mostly entail shit and piss, is practically a movie onto itself. Then Sands, whom we’ve met only briefly, sits down with a Belfast priest (Liam Cunningham) over cigarettes and for nearly a solid half-hour (including an initial single take that lasts over 16 minutes) discusses his plans for the hunger strike. Then the strike is underway, and we see in a dreamy but distressing montage Sands waste away to a bedsore-ridden skeleton, before simply shutting down.

It may seem sparse as narrative, but not while you’re watching it, and in terms of “content,” McQueen’s film bursts with political fire, implied backstory and conviction born out of suffering and persecution. The toll taken on the human body in the Maze is serious, and perhaps the most and the least you could say about the film as an experience is that it compels you to consider the reality outside of it and investigate the knotted politics of Irish-British warfare for yourself. “Hunger” is nothing if not a movie in which every frame is meant. If our tendency as jaded cinephiles is to sniff out the bullshit in whatever we’re watching — an occupation that doesn’t interest most moviegoers, who seem to like swallowing said bullshit in large, fluorescent heaps — then McQueen’s movie comes out smelling like roses.

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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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