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DID YOU READ

Slow cinema backlash.

Slow cinema backlash. (photo)

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It was inevitable that someone would get around to complaining that the dominant mode of the arthouse film had become super-languorous master takes. Over at “Sight & Sound,” Nick James has periodically used his front-of-the-magazine editorials to rail against what he sees as the excesses of “Slow Cinema.” Now the debate has shifted to passionate unpaid online writers: Harry Tuttle was peeved, and then Steven Shaviro did a frankly better job of articulating the anti-slow cinema case than James did. His argument is simple but eloquent: if contemporary slow cinema is descended from Antonioni, Akerman and so on, their rigorous long takes were adventurous provocations created by extremists. In the modern slow cinema, boundaries aren’t getting pushed: people are operating within a recognized, default artistic idiom. That suggests people are missing out on the chance to push the medium forward (wherever “forward” might be located).

Here’s the problem: there are masters, and then there are imitators. The problem isn’t “slow cinema” per se, any more than the problem with purely narrative, story-oriented film is that it can be practiced by both, say, David Mamet and Steven Spielberg as well as Steve “Paul Blart” Carr. That doesn’t mean narrative is dead; that means some people do it better than others. But with narrative movies, your average viewer can draw upon a wider sample selection of the effectual and ineffectual. The rigors of arthouse films require more cunning and self-motivation to track down.

05122010_lourdes.jpgSo when you get a small sample size of more rigorous-type films, you can get disillusioned a lot faster. But the names being brought up with monotonous regularity as premiere disciples of slow cinema — Bela Tarr, Carlos Reygadas, Tsai Ming-Liang — are pretty much indisputably the very best at what they do. You may not care for a five-minute sunrise, nor long tracking shots of the back of someone’s head. And that’s totally understandable. But these filmmakers are almost objectively the premiere practitioners.

The problem isn’t the masters. It’s the second-tier wave of films that premiere at Berlin and smaller festivals, rarely get picked up for distribution, and simply stagnate in their own self-righteous slowness. Outside the festival circuit few will ever see them. But those that do instantly understand why someone would wish a pox upon the whole movement. Earlier this year, a few American cities were treated to one such specimen: Jessica Hausner’s “Lourdes.” This is a movie that really does feel like it’s slow because it doesn’t know any better: shots go on but they’re not particularly complicated. There are no visual riches worth taking in slowly and the drama fails to rise. The whole thing just feels dull. I have no idea how this got distribution; the sheer star power of Sylvie Testud?

That’s really what James is objecting to: movies that show up expecting to be hailed for their high seriousness without earning it first. And that’s fair, because it complies with the golden rule of art: 99% of everything is garbage. The problem isn’t the mode, it’s the average product. The exceptions are always what matter.

[Photos: “Red Desert,” The Criterion Collection, 1964; “Lourdes,” Palisades Tartan, 2009.]

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.