I SS U E F I V E
I N T E R C U T I SS U E F I V E
INTERCUT EDITOR IN CHIEF Meg West
ASSIGNMENT EDITOR Kira Newmark
ART DIREC TOR Hannah Cooper
EDITORS Sarah Lucente Sophia Dienstag Kalee Kennedy Arnaav Bhavanani Beatrix Herriott O’Gorman
FINANCIAL MANAGER Kira Newmark
ILLUSTRATORS Sivan Piatigorsky-Roth Maxine Go Minu Jun
CONTENTS 10 THINGS I HATE ABOUT YOU AND THE NOTSOHAPPY ENDING Sophia Dienstag
1
MIDDLE EASTERNERS AND NORTH AFRICANS IN FILM AND T V: AN OVERVIEW Mahey Gheis
10
LES GL ANEURS E T L A GL ANEUSE, OR AGNÈS VARDA’S WAY OF INSPIRING LIFE THROUGH FILM Sam Leter
19
WHERE COMEDY MEE TS REALIT Y: SOCIAL COMMENTARY IN ATL ANTA ROBBIN’ SEASON Sherwin Yu
24
THE SCREEN’S FIRST LESBIANS Molly Scotti
29
HISTORICIZING THE WESLEYAN FILM BOY: A TAXONOMY Anabelle Doliner
38
THE FILM THAT CHANGED EVERY THING Gustavo René
39
INTERCONNEC TIVIT Y AND INDIVIDUALIT Y THROUGH AESTHE TICS IN RUN LOL A RUN Beatrix Herriot O’Gorman
43
LE T TERBOXD MADLIBS Allison Hsu and Brooke Kushwaha
48
SPONTANIE T Y AND IMPERFEC TION: IMPRESSIONS OF CASSAVE TES’ SHADOWS Theo Matza
49
DISSEC TING THE FEMALE SEXUALIT Y AND THE SEXY INTELLEC TUAL IN CRAZY EX GIRLFRIEND Hannah Gearan
54
CHARAC TER AS CORE: MAURICE PIAL AT ’S A NOS AMOURS Julia Levine
63
THE POLITICS OF REPRESENTATION IN HOLLY WOOD Kalee Kennedy
69
“STOP CRYING AND MOVE YOUR HANDS”: ON MAKING A MOVIE Meg West
75
LE T TER FROM THE EDITOR
DEAR READER, Thanks for picking up Issue
about how it reminded you
Five of Intercut. Our writers
of that one time you were
and editors and designers
in the car with your friends
have
driving
poured
a
great
nowhere,
maybe
amount of time and care
it’s about how that family
into the work that follows,
on screen doesn’t resemble
and if you only have a few
your own, maybe it’s about
spare minutes, I urge you
how the seat in the theater
to flip forward. My hope
felt under you. Sometimes
for this magazine is that it
we come back to a show we
reflects—in ways that other
hate and see something we
outlets
don’t—how
didn’t before. Sometimes our
people watch and respond
often
favorite movies turn to mush
to what they see. Maybe
upon a second viewing.
that is with awe, or vitriol, or
ambivalence.
watching
Maybe
something
There’s a lot to watch in
isn’t
the world right now, so
always about the thing itself
much that it’s intimidating
but rather when you saw it
to
choose.
and with whom. Maybe it’s
of
questioning
The
moment is
often
condensed to the period of time when your mouse hovers over an instant “play” button. It’s as wonderful as it is infuriating. I like to think of the writing in this issue as extending that moment of questioning by diving deep into the things we watch and why we watch them. I hope that Intercut inspires you to add things to your queue, write about movies or TV in a way that mirrors your own relationship with it, maybe even
make
something
yourself and put it out into the world.
Best,
MEG WEST
INTERCUT
10 T H I N G S I H A T E A B O U T YO U
AND THE N O T S O H A P PY E N D I N G SOPHIA DIENS TAG 1
I’ VE ALWAYS THOUGHT that
over the trailer, that first
10 Things I Hate About You
prompted me to confront
holds up as one of the better
the
teen
contradictions:
comedy/romance
story’s
ideological
movies from the nineties; it’s got witty dialogue, (some)
For every girl who’s ever hoped
teenage girls who care about
For every guy who’s ever tried
more than looking good and
And anyone who’s ever been
dating the most popular guys
taken completely by surprise
in school, and Heath Ledger singing “Can’t Take My Eyes
Following
Off You”—what’s not to like?
tradition of movie trailer
Recently,
when
voice-overs, this one tells
I came across one of the
us nothing concrete about
film’s startlingly misleading
the plot or characters of 10
original
was
Things, and even undermines
reminded of the ambivalence
many of the larger points the
I’ve
towards
film attempts to make about
the story’s ending. In the
teen romance. While these
past, I’ve shrugged off these
words
feelings of discomfort, but
reflect the nonconformist
upon a closer examination of
spirit of eighteen year-old
the film’s narrative, I’ve come
Kat, the protagonist, they do
to feel that a dissonance
illustrate the contradictions
exists between the movie’s
inherent within both her
surprisingly
narrative
however,
trailers,
always
felt
I
substantive
fail
in
to
arc
the
grand
accurately
and
the
characters and the formulaic
pervading ideology of the
endings they are made to fit.
film itself. That is, the very
Here are the words that play
fact that these were the
2
INTERCUT
words devised to sell the film to audiences reveals the extent to which the story, even one that at first purports to be a fresh take on an old tale, ultimately reinforces
age-old
clichés
about what romance should look like, and what it means to have a “happy ending.” 10 Things aims to present a
feminist
retelling
of
Shakespeare’s The Taming of the Shrew, a play now often deemed
offensive
misogynistic
for
its
depiction
of
Katherine, an independent woman who is abused and “tamed” by her husband into perfect obedience. In 10 Things, Kat Stratford— the parallel character to
3
Shakespeare’s
Kat, despite being played
independent
by the young and quite
assured attitude, and firm
described as liking “Thai
beautiful
is
belief in making decisions
food, feminist prose, and
known for her rebellious and
for her own reasons, that
angry, girl music of the indie-
non-conformist attitude; she
drives the movie forward.
rock persuasion.” Crucially
is thus considered much
The first line of the trailer
and much to the chagrin of
too aggressive and “scary”
voice-over—For
her younger sister Bianca,
for anyone in their high
who’s
Kat has no interest in dating.
school
consider
then, refer to her sister. Kat,
Bianca on the other hand, a
her as girlfriend material—
after all, is certainly not
popular sophomore, wants
not that she cares, anyway.
passively “hoping,” for one of
nothing more than to date
Bianca’s suitors—the sweet
the “unwashed miscreants”
and go to parties with the
and
Cameron
who goes to her school to
various boys who vye for
( Joseph Gordon-Levitt) and
whisk her away. So why,
her attention. But Kat and
the popular air-head Joey
then, focus the beginning
Bianca’s
overprotective
(Andrew Keegan) plan to
of the trailer on Bianca,
father has a rule: Bianca is
get around this by paying
the
allowed to date… only when
the mysterious and equally
popular-but-vapid
her older sister does. “She’s
antisocial
frankly less interesting of the
a
Ledger) to try and take her
is
a
high
mutant!”
Katherine—
school
says
senior
Bianca.
“What if she never dates?”
Julia
to
Stiles,
even
earnest
Patrick
(Heath
more
every
self-
girl
hoped—must,
stereotypically and
two sisters?
out.
And therein lies the story’s central conflict.
ever
spirit,
It It
is
Kat,
with
her
seems,
even
as
this
movie tries to rework and
4
INTERCUT criticize the sexism present in The Taming of the Shrew, its attempt at subversion continues to be manipulated and reconfigured — perhaps not even purposefully, in the case of this trailer — into a more familiar shape, one that fits a very narrow set of parameters of what romance should
look
like.
These
parameters—which call for “girls” who “hope” and exist without agency, and “guys” who actively “try,” and keep trying, until the girls relent— perhaps
more
accurately
reflect the misogyny of the Shakespearean world than we would like to think. Is it possible, then, for a film like 10 Things, that endeavors to both rewrite an old story into a new and evolved ideology, and appeal to a mass audience, to ever fully subvert the text to which it is beholden? Can this film exist without perpetuating, to an extent, the very ideology it is attempting re-interpret? But perhaps I am focusing too much on one trailer that
people
saw
a
few
times in 1999. And yet, in another version of the trailer,
5
the voice-over says, in a reference to Cameron and Joey’s scheme to trick Kat into dating: For Patrick, it’s a challenge. For Kat, it’s about time. Again, the trailer frames Kat as a social outcast who has been waiting, hoping, for a boy to come along and pursue her, as though this is actually what she has wanted all along. When the of
thinking
about
contradicting
ideas
10
Things,
I’ve
often
found
myself
comparing
it to another more recent film
about
rebellious
a
seemingly
teen:
Greta
Gerwig’s Ladybird, released in 2017. I came across an interview in which Gerwig explains
how
she
told
actress Saoirse Ronan to watch all of the nineties teen movies, including 10 Things, before they began filming, because, she said, “I wanted her to know what the ideal was. I told her: ‘We’re not making
this
movie,
but
this is what your character wants.’” Ladybird avoids the pitfalls of the typical teen movie, first and foremost, by refusing to give its title
6
INTERCUT
character
everything
she
of her dreams, it’s not quite
a teenager who thinks she
wants: Ladybird’s romantic
what she imagined. By giving
can be the rebellious star of
exploits remain confined to
her protagonist an ending
her own nineties comedy/
their subplots and ultimately
that, while not entirely sad,
romance, until she realizes
fizzle out before the film’s
is also not the perfect college
that she can’t.
end, her family has real
life she’d hoped for, Gerwig
financial troubles, and even
paints a much more realistic
Moreover,
once she gets to the college
picture of teenage life, and of
otherwise Christine
Ladybird, known
as
McPherson,
renames herself in order to stand out, to shed her teenage
mediocrity
and
transform into a more Katlike character. But to the people
around
her,
the
name feels like a forced, artificial
addition
to
her
identity, and by the end of the movie, she evidently feels the same, opting to go by Christine once again. With the name or without it, Ladybird is paradoxically both unique (in the way that all humans are), and also, as she discovers, really nothing
7
special.
girls at school, but the same
the first time. “Afterwards,”
could be said for any number
she says, “I told him I didn’t
Kat too chooses to be an
of the characters in the film:
want to anymore because
outsider, to push against
her boyfriend Danny, for
I wasn’t ready and he got
societal
of
example, who we eventually
pissed and dumped me.”
how an eighteen-year-old
find out is gay and scared of
It was after this that she
girl should look and act.
what his parents will think,
decided to never again do
In the opening scene, she
or her emo and presumably
something
drives to school blasting
adopted
Miguel,
else’s reasons, and she sticks
Joan Jett’s “Bad Reputation,”
or even Miguel’s girlfriend
to this resolution almost
her classmates eyeing her
Shelly, whose parents have
religiously. There is power
quizzically
expectations
and
brother
for
someone
bopping
kicked her out for having
in that, to be sure, but Kat,
their heads along to more
premarital sex. We all have
in the real world and in the
contemporary music. What
ways that we don’t fit in, and
world of the movie, is also
this scene makes apparent
we don’t necessarily get to
a
is that, unlike Ladybird, Kat
choose what they are.
Ladybird, she is an eighteen
not only proclaims herself to
be
a
total
anomaly:
unlike
year-old who is never lost,
nonconformist,
Kat has made a definite
never
but is deemed such by the
choice, but one for which
conscious,
confused
people who interact with
she has an explicit reason.
knows herself and exactly
her. Ladybird, on the other
Towards the end of the film,
what she wants. It’s easy to
hand, believes herself to be
she tells her sister Bianca the
admire her, but harder, as
“different” in the same way
story of how in ninth grade,
Ladybird perhaps discovers,
that we all selfishly do. She
she succumbed to social
to inhabit her state of mind.
doesn’t think she fits in with
pressure and had sex with
her family or the popular
her then-boyfriend Joey for
but
or
self-
instead
Yet it is the film’s conclusion
8
INTERCUT
that brings its most glaring
easily forgives him after he
handful of scenes, must be
ideological
surprises her with a guitar
swept off her feet at prom by
she’s been eyeing.
a fellow Shakespeare fanatic.
contradictions
to the forefront: although we initially root for Kat because of her rebelliousness and
10
ultimately
When I first watched the
independence,
are
fails to fully reconcile its
original trailer for 10 Things
ultimately supposed to be
feminist intentions with the
and heard the line, For every
satisfied
ending
misogyny inherent in the
girl who’s ever hoped, I balked
that seeks to render her
work from which its plot
and thought to myself: did
close to one of the prom
and characters are derived.
they even bother to watch the
and
an
teens
While the ending does not
movie? For much of the film,
she has always rejected.
mirror Shakespeare’s exactly,
Kat resists playing into the
While
by
it still endorses the idea that
typical projected narrative
refusing to give its title
the only “happy endings” for
of a teenage girl; she doesn’t
character
she
high school girls are those
care about dating, prom,
wants, the narrative of 10
in which they end up with
or what anyone else thinks
their
of
boy-obsessed Ladybird
Things
9
with
we
Things
ends
everything
resolves
itself
by
romantic
interests,
her.
Although
she
is
giving Kat something — a
regardless of whether or not
never entirely reduced to
boyfriend — for which she
they have ever articulated
that “hoping” girl, we as an
never expressed a desire
wanting
audience are made to hope
in the first place. Although
ending
Kat
Even
eventually
discovers
that for
particular themselves.
Mandella,
on
Kat’s
behalf,
rooting
Kat’s
for her to get the perfect
that Patrick’s initial interest
Shakespeare-obsessed best
highschool-girl ending she
in her was ingenuine, she
friend who we only see in a
never even wanted.
MIDDLE EASTERNERS AND NORTH AFRICANS IN FILM AND T V: AN OVERVIEW MAHEY GHEIS
THE
HISTORY
OF Middle
Reflective
of
current
or North Africa as their own
realities,
racial category. This has
Eastern and North African
socio-political
bodies in the cinema and on
representation
been
led to a negligence in even
television is one grounded
difficult to even investigate,
having the discussion about
in Orientalism and negative
due to slow governmental
how it is that we are being
stereotypes
of
progress on counting those
portrayed in on screen. By
cultural misrepresentation.
from the Middle East and/
drawing
born
out
has
on
the
metrics
10
INTERCUT that are available, however,
it is important to emphasize
there is a clear and severely
their
adverse bias against Middle
the issues I will be writing
Eastern people in film and
about here so often impact
television. That being said,
all these groups, I will often
there is movement towards
refer to Middle Easterners,
creating burgeoning change,
North Africans, and Arabs
including Middle Eastern
within the same context.
actors
gaining
distinctions.
Since
popular
American notoriety, series
The harmful use of tropes
that center on the Middle
and stereotypes of Middle
Eastern
Eastern
Middle
experience, Eastern
and films
people
today
can be directly linked to
reaching recognition in the
the
Western world.
of
damaging Orientalism
history and
its
extension into our popular Before
11
continuing,
it
culture.
Broadly
defined,
would do well to define
Orientalism is the colonialist
the
between
attitude towards “Eastern”
Middle Eastern, Arab, and
distinction
countries. It defines an “Us
North African. Being Middle
vs. Them” dynamic, and uses
Eastern means one is from
simple
a country located in the
to stand in for the diverse
Middle East, such as Egypt,
and rich history of Arab
Algeria, or Iraq. Being Arab
and Middle Eastern people.
means one comes from an
While these countries were
Arabic
being visited by European
speaking
country,
characterizations
such as Chad, Somalia, or
artists,
Oman. Being North African
music, art, and dress were
means one is from a country
not represented as the fully
in the North African region,
refined
such as Sudan and Libya.
that they were, but rather
Though there is frequently
amalgamated into a series
much
of
overlap
in
these
their
architecture,
cultural
careless
markers
stereotypes,
identifiers, conflating them
exploiting the Near East
has become so standard in
as
our American society that
European fears and desires.
characturies
to
feed
Think of the violent sheik,
(1829). The painting, based
to the colonialist stereotype
or harems of exotic, sexual
off the play Othello, displays
of “darker” men attacking
concubines. These were the
the
African
the
porcelain
beliefs espoused in countless
main character after he has
and
beautiful
European artworks of the
just smothered his (white,
woman.
19th and early 20th century,
European) wife to death.
Othello appears in colorful
such
This painting plays directly
and
as
in
La
Grande
likely
North
In
the
dazzling
skinned European painting, traditional
Odalisque (1814), by JeanAuguste-Dominique Ingres. A piece created for the 19th century French male gaze, the painting displays an
ambiguously
Eastern
concubine surrounded by typical demonstrators of the “Orient”, such as her turban, hookah, and peacock fan. Another example steeped in stereotype is the work Othello
and
Desdemona
by Alexandre-Marie Colin
12
INTERCUT clothing, which is negatively re-contextualized
by
the
violence portrayed in the piece. He is portrayed as crazed and dangerous, an inherently violent product of his culture. This Oriental influence is still strongly presented in Western media today, albeit manifested in different formats. Arabs are still portrayed as backwards and in complete dichotomy to the West, posting an everpresent threat to our morals and values. With the advent of the Gulf war, the power and quantity of these kinds of images of Arabs was only strengthened, terrorists
adding
and
the
billionaire
oil tycoons America was ostensibly the
fighting
catalog
of
into Middle
Eastern stereotypes. After the tragedy of 9/11, the animosity towards Middle Easterners
in
America,
and specifically those who were visibly Muslim, grew to
unprecedented
additionally the
issue.
levels,
exacerbating According
to
the FBI, in the year 2000, there were a reported 28
13
hate crimes that were anti-
chose to rely on timeworn
Islamic, and in 2001, that
clichés. Firstly, the film is
number
set in the city of Agrabah,
jumped
to
481.
Since then, the number of
a
anti-Islamic
name
hate
attacks
callously
fictionalized
created
to
sound
in this country has never
Arabic. The biggest offense
fallen to pre 2001 levels, and
in the film however, can be
in fact, is showing signs of
found within the original
growing in the post-Trump
opening lines of the number
era. As this Islamophobia
Arabian Nights, which are
grows, so does the ignorance
follows: “Oh, I come from a
surrounding the people it
land, from a faraway place/
stigmatizes against. Sadly,
Where the caravan camels
as a result of this history,
roam/Where they cut off
and the acrimony keeping
your ear if they don’t like
it in place, some of the
your face/It’s barbaric, but
most
scenes
hey, it’s home.” By invoking
or movies involving Middle
well-known
barbarianism in association
Eastern
with Arab peoples, Aladdin
or
Arab
people
today are evocative of these
falls
dangerous stereotypes and
portraying the population
tropes. For instance, take
it centers. Regrettably, this
maybe the most enduring
film is not alone its shallow
example of the Middle East
understanding
in America, the 1992 film
Eastern and Arab culture.
truthfully
of
Middle
From as far back as the
groundbreaking. To have a
1942 film Arabian Nights
company on the scale and
and the 1944 film The Sword
with the influence of Disney
of Ali Baba, Hollywood has
showing brown bodies as
been selling the Orientalist
central protagonists in a
fantasy of “The East” in
widely distributed U.S. film
order to profit off of the
was astounding. However,
image
rather
violent
than
movie
in
was
Aladdin.
The
short
using
that
of
oversexed Middle
and
Eastern
platform to showcase the
people. Rarely is it ever a
beauty of Arab and Middle
beneficial portrayal. Dr. Jack
Eastern
Shaheen, the author of Reel
culture,
Aladdin
14
INTERCUT
Bad Arabs, found that with over 1000 films depicting Arabs, “932 depict Arabs in a stereotypical or negative light, and only 12 have a positive depiction.� Traversing screen,
to
the
small
representation
is
still severely lacking. Some of these issues are due to the overlooking of Middle Easterners general.
in
media
According
in
to
a
recent study presented by the MENA Arts Advocacy Coalition, the first of its kind, only 1% of TV actors are
Middle
Eastern
or
North African. Take that in
comparison
to
the
approximately 3% of the of the U.S population that is
Middle
Eastern.
This
statistic is shaky in itself, as it results from cobbled
15
together metrics by Arab-
However,
American civil rights groups,
Today,
since Middle Easterns today
talented
are
still
more
is
hope.
overlooked when discussing
than
ever,
the Middle Eastern and Arab
Eastern
community. In 2013, the film
Middle
as,
actors, writers, and directors
The Square, a documentary
“White (Including Middle
are leading the charge in
on
Eastern).” Within that 1%
bringing the true Arab and
premiered
of Middle Eastern and/or
Middle Eastern lense to the
critical acclaim, and became
North African actors on the
forefront, creating complex
the first Egyptian film to be
screen, 78% of those roles
and
nominated for an Oscar. In
are that of “trained terrorists,
whose
revolve
2009, the longest-running
agents, soldiers, or tyrants,”
around more than just their
artistic collective of Muslim
and
identity.
comic performers in the
“speak
67%
categorized
there
of
with
characters pronounced
diverse
characters
storylines The
Palestinian-
American artist
the
Arab to
Spring,
widespread
Cherien
world achieved mainstream
foreign accents.” In a world
Dabis is one such figurehead,
success with the release
where white characters are
writing and directing the
of their 2008 concert film,
allowed to be whoever they
2009 film Amreeka, centered
Allah Made Me Funny, led
want to be on the spectrum
on a Palestinian Christian
by
of human existence, (96% of
immigrant, which won the
Mo Amer. One of the biggest
television shows having at
FIPRESCI Prize at the 2009
milestones
least one white character), it
Cannes Film Festival. She
achieved, when Egyptian-
is devastating to see Middle
also produces for popular
American actor Rami Malek
Eastern characters so deeply
shows
Empire,
won the Best Actor category
missing from the screen,
The L-Word, and Quantico,
at the 91st annual Academy
pigeonholed and tokenized
as well as being openly
Awards
in the few moments that
bisexual, showing LGBTQ+
first made history with the
they are broadcast on T.V.
representation which is often
series Mr. Robot, created by
such
as
Palestinian-American
in
was
2019.
recently
Malek
16
INTERCUT
fellow
Egyptian-American
Middle Eastern work by
Sam Esmail, with which
just tuning in! Watching the
he won the 2016 Emmy
shows and movies being
for Best Actor in a Drama
created now like Mr. Robot
Series, becoming the first
and
non-white actor to win the
expand one’s perspective,
award in 18 years, as well
support the movement, and
as the first Egyptian to ever
just serve as an all-around
win an Emmy acting award
fun
in the show’s 70 year history.
The intricate and beautiful
Clearly, Middle Eastern and
history of Middle Easterners,
Arab talent is infiltrating
North Africans, and Arabs
Hollywood
today is too important to
ivory
gates,
welcome or not.
Amreeka
source
of
can
both
diversion.
be ignored by America, not matter how long it has been
Moving
17
forward,
there
relegated to the background,
is much we can do to
as summed up by Malek:
encourage the growth of
“When I grew up as a kid,
the Middle Eastern voice
part of me felt like I needed
in television and film in the
to shed some of that [Middle
United States. By refusing to
Eastern heritage]. I didn’t
tune into series that use lazy
feel like I fit in, I definitely
stereotyping to stand in for
felt like the outsider. As I
representation, and holding
got older, I realized just how
film
accountable
beautiful my heritage and
to using actors of Middle
studios
my tradition is. The wealth of
Eastern and Arab descent
culture, magic, music, film,
in all kinds of roles, both
and just pure art that comes
in front of and behind the
out of the Middle East. I am
camera, we can challenge
so privileged to represent it,
and change the systems
and to anyone from there,
in place today. In an even
we all got a shot at this. We
easier way, one can support
really do.”
WORKS CONSULTED: http://arabstereotypes.org/why-stereotypes/what-orientalism https://www.pri.org/stories/2016-09-12/data-hate-crimes-against-muslims-increased-after-911 https://static1.squarespace.com/static/5b836e318f51306ec8ec20ce/t/5b8606afb8a045dcb863ea77/1535510207793/MENATandT_ Presentation_FullDoc_Final.pdf http://www.arabstereotypes.org/blog/201809/27-438 https://disney.fandom.com/wiki/Arabian_Nights https://thinkprogress.org/wp-content/uploads/2018/09/MENATandT_Presentation_FullDoc_Final.pdf https://www.imdb.com/title/tt1190858/?ref_=nm_flmg_prd_4 https://www.artsy.net/artwork/alexandre-marie-colin-othello-and-desdemona https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/ingres-la-grandodalisque https://stepfeed.com/egyptian-and-proud-6-times-rami-malek-embraced-his-roots-7441 https://www.moviemem.com/products/movie-posters-found-in-victorian-shed/the-sword-of-ali-baba-original-one-sheet-movie-poster
18
INTERCUT
LES GLANEURS ET LA GLANEUSE, OR A G N È S VA R D A ’ S W AY OF INSPIRING LIFE THROUGH FILM SAM LE TER
19
On March 29th 2019, the day I submitted the second draft of this article, I learned that Agnès Varda had just passed away. I did not change the original content of the article, as I had already wished to celebrate Varda’s life through her filmmaking. The following is a personal tribute to such an inspiring artist.
IN
LIGHT
OF the latest
premiere
of
Varda
by
age ninety left me beaming with vibrant enthusiasm.
Agnès at the 2019 Berlin International Film Festival,
Made in 2000, Les Glaneurs
the Cinémathèque Française
et la Glaneuse documents
in Paris organised a “Fifteen
the act of “gleaning” at
days
Varda”
the turn of the century.
program that ran between
Gleaning has been typically
January 16th and 28th. One
defined as gathering leftover
of the events involved a
produce after a harvest in
screening of the iconic Les
the fields. In Les Glaneurs et
Glaneurs
Glaneuse,
la Glaneuse, Varda analyses
followed by a masterclass
a multiplicity of recycling
with Varda herself. I couldn’t
and gleaning methods that
hide my excitement at the
include picking up unsold
thought of witnessing an
salad after city food markets,
in-person Varda by Agnès
searching
demonstration
at
the
seafood,
Cinémathèque,
and
was
scraps of wood and metals
with
Agnès
et
la
for
unpicked
and
collecting
delighted to leave the room
for
knowing it had surpassed
Using a small, digital, first
my
expectation.
generation DV camcorder,
Varda’s contagious energy at
the documentary’s mobile
every
artistic
production.
20
INTERCUT
filming sometimes feels like a
resourceful nature of the
and aging body in the mirror,
road movie. As Varda travels
gleaners could have been
Varda echoes the postcards
around France in search
solely portrayed within a
of Rembrandt’s self-portraits
of
framework
dramatic
that she carries in the film,
fascinating and sometimes
hardship, and indeed, several
her own body degrading like
zany characters, who are
scenes of people living in
the food she documents.
all treated with lightness
vans among extremely rural
Les Glaneurs et la Glaneuse
and respect throughout her
parts of France illustrate this
becomes an opportunity for
interviews.
reality. Yet Varda pictures a
the auteur’s self-portrait, her
more expansive practice of
body fully intermingling with
There are two key things I
gleaning, and focuses, rather,
the sociological topic she
learned from the film. First,
on the pleasures and benefits
explores. She is “la Glaneuse”
that serious documentary
linked
recycling
picking up the pieces of
topics—such as food and
ecology. She emphasizes the
her ageing body as she
material
gleaners,
we
active initiatives of gleaners
encounters “les Glaneurs.”
instead of fixating on their
This
be dealt with in a considerate
social conditions.
approach
manner.
autobiographical foreshadows
Les plages d’Agnès (2008),
Moreover,
this
humorous
Second, there is a strong case
originally
approach
can
make
the
to be made for documentary
be her final film. Les plages
content more appealing to
filmmakers—perhaps only if
d’Agnès goes through Varda’s
the viewer. Witnessing the
they are as entertaining and
own life narrative, from her
vast quantities of waste and
charming as Varda—that get
childhood in Belgium and
produce left to glean points
personally involved in the
time in art school, to her days
to
subject of their films through
living
voice
husband
how
suitable
much food
perfectly ends
up
unused or neglected. The
21
this
Les
comedic
in
to
of
Glaneurs et la Glaneuse—can yet
waste
discover
or
image.
As
she
examines her wrinkly hands
The
proclaimed
with
to
now-deceased
Jacques
self-portrait
Demy. merges
documentary and fictional
upsetting
methods
say that one’s best work
of
reenactment,
content.
as various actors play Varda
is
at different stages of her life
of profound sadness and
while shooting in landmark
misery—that
settings of her past. She
be created out of pain, the
states
that
composed and
that
everyone
created
in
Some
moments
beauty
can
is
grotesque and suffering, à
of
landscapes,
la Baudelaire’s Les Fleurs
if
somebody
du Mal. I myself have been
opened her up, they would
drawn to this theory, but
discover beaches.
Varda’s film reminded me of alternative approaches. Of
Overall, Les Glaneurs et la
course, topics dealing with
Glaneuse proves that fictional
human and social suffering
and
films
can be challenging to view
don’t need to veer towards
documentary
through a comedic lens, but
academic
or
Varda offers an enlightening
somberness. Varda begins
seriousness
perspective and exception
the documentary by reciting
to the rule.
a dictionary definition of “gleaning,” but does so while
Hearing her speak about
filming
wandering
the experience of shooting
cat, avoiding any didactic
was just as refreshing as
intent. Too often it seems
her stylistic approach. With
that films acquire a status of
regard to securing funds
genuine artistry by intensely
for the film’s production,
dramatizing and depicting
Varda
her
talked about how
22
INTERCUT
she walked into the offices
Throughout her films, she
of Canal+, a major French
too becomes a gleaner of
television
with
images and anecdotes, a
a heart-shaped potato she
collector of ageing memories
found during one of her
and souvenirs filled with
gleaning excursions. It was
meaningful
this potato, she claims, that
This is transcribed in her
convinced
reenactment
company,
the
producer
relationships. of
Jacques
to support her project. To
Demy’s
childhood
think that Varda was able to
in Jacquot de Nantes, her
get a producer on board by
transformative
presenting a heart-shaped
of Jane Birkin in Jane B.
potato is truly admirable.
par
Her approach to life and film
discovery of her California-
tends to transform gravity
based
into festivity, answering a
in Uncle Yanco. These all
calling of the heart among
mix
piles of decay.
with
Agnès
portrait and
V.,
uncle
stories
Jean
fictional
the
Varda
creativity
autobiographical,
biographical,
or
real-life
Varda also discussed how
segments of documentary
she came up with the idea
film. Perhaps this is why
of making the film. Sitting
so much inspiring life and
at a café near Edgar Quinet
pleasure
in the 14th arrondissement
Varda’s movies, as her ideas
of Paris, she observed the
are deeply ingrained in the
weekly
quotidian of her personal
being the
outdoor taken
market
down,
numerous
and
gleaners
can
be
felt
in
life, even when her films touch
upon
her
ageing,
searching for leftover scraps
dying body, as in her latest
of food on the street. Varda
Varda by Agnès.
claims to never look for a subject, story, or topic to
Thank you, Agnès Varda,
document or film. She lets
for
the subject come to her
enthusiasm for life through
naturally from her daily life
the act of movie-making.
experiences or observations.
23
presenting
such
an
EXPERIENCE
in terms of tone, structure,
but rather work side-by-
in America is a sensitive
and subject matter. Many
side to elevate the show’s
subject that very few people
have commented on the
storytelling
want to talk about. But
weirdness of the show; the
elements.
Donald Glover wants to talk
vibe of an episode can switch
about it. His FX television
from funny to uncomfortable
The
series
to depressing within mere
Atlanta
its second season, titled
minutes.
end
Season because it showcases
Robbin’ Season, last May.
up in predicaments that
just that; each of the main
The show so far has been
seem completely surreal. It
characters (Earn, Al, Darius,
a critical and commercial
is precisely this weirdness,
and Van) is robbed at some
darling, headlining the FX
however, that allows Atlanta
point or another. Society
programming
to transcend beyond genres
robs
inducing rave reviews from
and
nuanced
their money, but of their
critics and fans alike. Most
social commentary through
time, their resources, their
commonly, Glover has been
its
security, their aspirations,
applauded
humor and pain. Comedy
their
has
and reality do not challenge
opportunities. The robberies
never been a show like it
each other for superiority,
that
THE
BL ACK
concluded
Atlanta
uniqueness;
slate
for
and
Atlanta’s
there
Characters
provide odd
a
juxtaposition
of
and
second is
them
season
called
of
dignity, occur
thematic
Robbin’
not
and in
of
just
their
Robbin’
Season, therefore, are not recoverable
artifacts,
permanent
losses.
but Like
W H E R E C O M E DY MEE T S REALIT Y: S O C I A L C O M M E N T A RY I N ATL ANTA ROBBIN’ SEASON
life, however, it is not all gloom
and
doom;
quite
a bit of comedy can stem
SHERWIN YU 24
INTERCUT from tragedy. In fact, many
because people are posting
find out that the “Drake” that
of today’s tragedies in a
pictures with Drake on their
has been appearing in all
media-obsessed and ultra-
Instagram accounts, proof
the Instagram photos they
conservative world are so
of his presence at the party.
have seen is a cardboard
ridiculous
and
flagrantly
Hungry for social media
cutout; some social media
disturbing
that
there
is
clout, they go to the partly
“influencers”
sometimes no choice but
desperately seeking out the
Drake cutout pictures for
to laugh. We laugh while
star to no avail. As it turns
a charge of twenty dollars.
watching Atlanta because so
out, the only people at the
Watching
much of it is fucked up.
party are D-list celebrities,
unfold is hilarious: there
offering
this
debacle
friends of friends loosely
is
In one of the season’s most
associated with Drake, and
filled to the brim with well-
memorable
extravagant
home
episodes,
other people like Van and
dressed men and women
“Champagne Papi,” Glover
her squad who came only
hoping to get in contact with
perfectly balances humor
with a goal to snap a star-
a pop icon, only to find them
with
the
studded selfie. Their search
frantically rushing to get
episode, Van goes out with
for him is frustrating; every
in a picture with a piece of
her “squad” of friends to
time they ask for some
cardboard. To make matters
an exclusive party that is
direction or help they are
even
apparently
distracted, baited,
or led
Van
The
astray. Yet when they finally
real
event is especially enticing
get to the selfie room, they
television upstairs in a room
by
25
an
are
frustration.
rap
being
star
In
hosted
Drake.
more later
laughable,
finds
grandpa
Drake’s watching
(a possible hallucination),
of the night goes largely
online presence plays in our
only for him to tell her in
unnoticed. What is more
lives. What are we willing to
broken English that Drake is
sickening than this deceit,
sacrifice for popularity? Or
currently on tour, thousands
however, is the disturbing
even for just an Instagram
of miles away from Atlanta.
feeling that the partygoers
like?
The
are
entire
party
is
an
somewhat
enjoying
elaborate facade to exploit
their search for Drake and
In
the
unhealthy
popular
of
his social capital, knowing
episode,
social
that they may never interact
the intersections between
media popularity. Van, like
with him but still continuing
humor and pain are quite
the rest of the people in the
to participate in the chase
clear. Al goes to his barber
mansion, is being robbed
for
Glover
hoping for a quick haircut
of her time and energy by
extracts the comedy out of
because of an upcoming
searching for a nonexistent
modern-day vanity, and how
photoshoot.
photo
The
it has manifested itself in
Bibby, starts the haircut,
worst part is, however, that
social media. This comedy
only to be distracted by
Van is the only one who
highlights
superficial
other responsibilities that
knows or cares. The rest of
nature of the party and
he must attend to. Al, with
the
human nature itself, creating
only half a haircut, has no
the powerful message that
choice but to follow Bibby
we
the
around on his many errands
role that social media and
and ends up paying for it.
people
to
desire
another
garner
opportunity.
partygoers
their
fruitless
international Drake,
and
continue search
for
superstar the
deceit
fame.
need
Here,
the
reevaluate
“Barbershop,�
The
barber,
26
INTERCUT
27
First, Bibby drags Al to his
stealing; they speed off with
of Al’s time, safety, and peace
girlfriend’s house, where he
the wood and Al becomes
of mind. At every stop, Bibby
is late for an appointment
indignant. As he demands
finds a way to convince Al
to cut his girlfriend’s son’s
to be brought back to the
to tag along with him and Al
hair. After Bibby is done
barbershop, they find Bibby’s
finds himself suffering at his
with the son’s haircut, the
son
and
compliance. Bibby shows no
power shuts off, prompting
hanging out on the streets.
remorse or even an inkling
his girlfriend to start yelling
Bibby stops to discipline
of realization that what he
at him. Bibby and Al rush
his son, forcing him to join
has done is disrespectful
to leave, and Bibby offers to
their car ride and asks Al
or unprofessional; he even
get Al some Zaxby’s chicken
to “inspire the youth” and
complains about the lack of
as compensation for his
act as a role model for his
a tip after the haircut. This
troubles.
Instead,
cutting
school
Bibby
wayward teenage child. Not
lack of self-awareness is quite
drives them to a housing
long after, a distracted Bibby
comical—there seems to be
development
he
crashes his car on the road,
no end to Bibby’s endless list
gives Al a take-out box of
threatening Al’s probation
of excuses. Or maybe, Bibby
leftovers, and then asks him
and, consequently, his fragile
is very self-aware about what
to help him move some
rap career. Bibby speeds off
he is doing; he just has no
wooden planks to his truck.
from the scene, leading them
problem supplying excuses
In the process of doing so,
back
barbershop.
as long as he gets what he
a
them
Finally, Bibby finishes the
wants. Al is being ruthlessly
and flags them down for
haircut; only at the expense
robbed by Bibby, and Bibby
contractor
where
sees
to
the
is only doing so because he
whatever means necessary.
Atlanta
Robbin’
Season
knows Al is dependent on
And the people with power
has
generated
critical
him; with only half a fade
will
commercial
acclaim
finished, Al has nowhere
because
exploit
you
and
can.
This
because of many reasons; yet
else to turn. To him, there is
verdict is best highlighted
it is Glover’s unique ability to
no greater embarrassment
in the episode’s final scene,
blend comedy and drama
then walking out in public
in which Al returns to the
into a singular narrative that
with a fucked-up haircut.
barbershop a while later,
makes it so hard-hitting and
The humor in this episode
only to pettily sit in the chair
thematically dense. Glover, a
is inextricably tied to Al’s
of a different barber near
former stand-up comedian
tragedy; Bibby is holding
Bibby. Bibby chuckles; he is
and comedy actor/writer,
Al
taking
amused yet dismissive of Al’s
knows the importance of
advantage of his presence
attempt at revenge. Al looks
humor, even in the context
for his own personal gain.
satisfied for a split second,
of drama. Humor brings
While
hostage
Bibby’s
and
always they
selfishness
before realizing that he has
out a human genuineness
may seem despicable, this is
no idea how to explain the
that
clearly Glover’s perspective
type of haircut he is always
sometimes eases, the pain
on the way of life in such a
given by Bibby to his new
of life. Reflective of our own
neighborhood.
accompanies,
and
Especially
barber. In the end, Al still
reality, Atlanta showcases
in the setting of Atlanta,
loses. And Bibby, like anyone
that
everybody is just trying to
else with power, just keeps
amalgamation of the best of
survive, and they will do so by
on hustling.
times and the worst of times.
life
is
a
strange
28
INTERCUT
THE SCREEN’S FIRS T LESBIANS M O L LY S C O T T I BERLIN DURING the Weimar
their public portrayals of
Republic
sexually
homosexuality. Even with the
liberated place that was
rise of fascism throughout
home
lesbian
the nation, Germany was
and gay subcultures. The
able to become one of the
sentiments of this time and
first countries to release
place are reflected in the
films with explicitly gay and
German films from that era,
lesbian characters. This is
which made history through
largely because its capital,
to
was
a
lively
which was home to several production was
companies,
such
a
sexually
accepting place. While it was revolutionary to show homosexuality
on-screen,
films that chose to do so were still often dulled by inaccuracies and censorship. Two films that show this restrained representation of homosexuality, lesbianism,
are
specifically Pandora’s
Box (1929) and Girls in Uniform (1931). Pandora’s
Box,
a
Silent
Era film directed by G.W. Pabst, debuted the screen’s first
lesbian:
Geschwitz.
Countess Pandora’s
Box is a film that’s plot
29
relies on female sexuality,
love for Lulu. Although in
though it does not focus on
2019
these
Geschwitz but rather Lulu,
seem
inconsequential,
an
femme
the time of the film’s release
fatale figure. Throughout the
Geschwitz’s character was
film, different people, men
considered to be a radical
and women, fall in love with
and blatant representation
Lulu, which ultimately leads
of lesbianism.
androgynous,
actions
may at
to their demise. Because his film was created before the
In
popularization
of
addition
to
Pabst’s
sound,
revolutionary depiction of
Pabst conveyed Geschwitz’s
homosexuality on screen,
lesbianism
through
the director broke a common
expressions
and
facial actions
rather
than
dialogue.
Throughout
through
trend in
than
many
was
popular
contemporary
the
plays that included lesbian
film, Geschwitz looks at
characters. In many works
Lulu longingly and at any
of literature at this time,
man
lesbian
that
accompanied
characters
were
her with jealousy. The most
killed at the end in order to
explicitly
scene
“atone” for their sins. In the
is during Lulu’s wedding,
lesbian
film, however, Geschwitz’s
where she and Geschwitz
fate is left unresolved. The
dance together. However,
audience
other scenes, such as one
Countess on a gambling
which
Geschwitz
boat, deserted by Lulu and
saving Lulu first from jail
terrified by the murder she
and then from the clutches
has
of a man who wishes to
audience is left unsure of
exploit her, also illustrate
whether or not she will be
the extent of Geschwitz’s
framed for this man’s death.
depicts
just
last
sees
witnessed.
the
The
30
INTERCUT Nevertheless, Geschwitz is not killed in the film, breaking the common practice in plays and novels of the time. In the plays from which this film was adapted, Frank Wedekind’s Earth Spirit and Pandora’s Box, Geschwitz’s fate is not so kind. In Wedekind’s
final
scene,
Geschwitz attempts to kill herself but fails, and then both she and Lulu are killed by Jack the Ripper. Before their
deaths,
Geschwitz
also swears to herself that she will return to Germany, attend university, and fight for women’s rights. Instead, Geschwitz is stabbed while trying
to
protect
Lulu.
Though Wedekind created more depth in the character of Geschwitz and made her lesbianism
more
the
scene
death
explicit, further
perpetuates the common belief during this era that homosexuality was a sin. The second film, Girls in Uniform,
was
originally
adapted from a play written by
Christa
Winsloe
and
directed by Leontine Sagan, who
later
became
the
director for the film as well.
31
Both adaptations tell the
showing
story of Manuela, a young
that
girl who is sent to an all-girls
greater
boarding school and falls in
also replaced the actress
love with her young, female
that played Fräulein von
professor,
Bernburg
Fräulein
von
their
this
legs,”
would
crowds.
in
and
attract Froelich
the
Bernburg. Throughout the
production
film, the school girls swoon
conventionally
over Bernburg, and it is made
actress.
known that many of the
who had originally played
students in the school have
the role of von Bernburg,
a crush on her. Manuela’s
had a traditionally “butch”
love
von
a
more
feminine
Margaret
Melzer,
Bernburg,
appearance and was dressed
however, surpasses all of
in masculine clothing to give
these other crushes, and
her character androgynous
eventually and
for
with
Berlin
she
publicly,
characteristics.
drunkenly,
Melzer
fit
declares
the archetype for the “third
her love for her professor in
sex” view of homosexuality,
front of her peers as well as
and as a result was easily
the headmistress. Manuela
identifiable
is punished. Though it is
figure in the play. During
never
stated,
the late 1800s and early
the audience is meant to
1900s, leaders of the gay
assume
movement
explicitly that
Manuela’s
as
in
a
lesbian
Germany
feelings for von Bernburg are
created the concept of a
reciprocated.
“third sex” in an attempt to justify homosexuality to a
The film’s producer, Carl
close-minded society. In his
Froelich, attempted to lessen
essay “Less and More than
the lesbian aspects that were
Women and Men: Lesbian
so overtly present in the play
and Gay Cinema in Weimar
in the interest of commercial
Germany,” film critic Richard
success. Froelich changed
Dyer describes the reasoning
the title because he believed
for the gay community to
that the audiences would
isolate themselves outside
“think there’ll be girls in
of
uniform playing about and
point of clinging to some
either
gender:
“The
32
INTERCUT version of these theories
the professor resulted in a
was to demonstrate that
lesbian figure who did not
homosexuality was a fact of
need to be de-feminized in
biology. If you could show it
order to be attracted to the
to be a part of nature, rather
same sex.
than an activity going against nature, then you could argue
Froelich’s
that society had no business
change in the film was
trying to suppress it.” The
altering the ending. In the
casting of Dorothea Wieck
play,
to replace Melzer in the
in
film has been received by
end, while in the film von
critics in varying ways. Many
Bernburg and the other girls
historians
Wieck’s
are able to save her. While
feminine
significant
Manuela
killing
succeeds
herself
at
the
appearance
Froelich made this alteration
as a way of masking the
because he viewed it to
lesbianism in the play, while
be more pleasant for the
others view her casting as
audiences, the change is
simply
significant
with
33
view
last
replacing a
Melzer
to
the
work’s
female-identifying
depiction of lesbianism as
lesbian. Either way, Froelich’s
well as to the meaning of the
attempt to mask the overt
film as a whole. In his essay
lesbian
“Coming Out of the Uniform,”
characteristics
of
Richard
McCormick
Critics initially ignored the
describes Manuela’s failure
W.
lesbian aspect of Girls in
to commit suicide as “a
Uniform
great improvement on the
the
conventional
movie
ending
of
when
film.
reviewing
While was
Sagan’s
incredibly
traditional lesbian novels:
successful
‘deviance’
among audiences, critics did
punished
with
critically
the suicide of the ‘deviant.’”
not
Like Pandora’s Box, this film
the film’s lesbianism until
adaptation
the
does
not
kill
begin
and
acknowledging
1970s.
Instead,
the lesbian character and
would
therefore does not depict
Manuela’s
her sexuality as a sin. Girls
adolescent phase or as the
in Uniform even goes a step
manifestation of her longing
further than Pabst’s film by
for
creating a supporting and
Kracauer
accepting community that
most frequently referenced
saves Manuela from her
examples of a critic who
rejection of self, and as a
avoids acknowledging Girls
result validates her feelings
in Uniform as a lesbian film.
and
emotions,
the
a
often
they
disregard
feelings
mother. is
as
an
Siegfried
one
of
the
most
Kracauer solely discusses
important of which being
Girls in Uniform as anti-
her love for another woman.
authoritarian,
and
even
34
INTERCUT as such he criticizes the film for not being radical enough. To discount the lesbian aspect of the film is to ignore the sexuality that drives
Manuela’s
actions
and pushes her to rebel. While the film does have anti-authoritarian elements, the manner in which the characters
rebel
against
authority is motivated by Manuela’s
emotions,
and
the film’s first major act of rebellion is Manuela’s public declaration of love for
von
Bernburg.
This
love then sparks rebellion amongst the other girls and von Bernburg herself, who break the rules in order to help Manuela. When von Bernburg
finally
openly
defies the headmistress and challenges her authority, it is in defense of Manuela and her feelings; von Bernburg declares that “What [the headmistress] call sins I call the great spirit of love which has a thousand forms,” a statement that is a clear defense of homosexuality. In order to define a film as anti-authoritarian, one has to acknowledge the way in which it revolts against
35
authority, which in the case of
depicting lesbianism. The
Girls in Uniform is through a
United States, in particular,
love that the authority figure
worked
considers to be a “scandal.”
semblance of homosexuality
In the 1970s, Girls in Uniform
from films before allowing
again gained popularity, now
them to be shown to the
among lesbian communities
public. Russo describes the
that often considered it to
United States’ insistence to
be “an early ‘coming-out’
ban depictions of lesbian or
film
love
gay behavior from films as
between women.” Manuela’s
the society having “deleted
drunken speech after the
the
play is considered to be her
behavior, laundering things
coming-out moment, and
as
the film was finally popularly
order to maintain a more
discussed as a lesbian work.
comfortable illusion.” Both
that
affirmed
fact they
to
remove
of
any
homosexual
come
along
in
the U.S. and the British Censorship is another factor
versions of Pandora’s Box
that diminished the impact
removed
of these early lesbian films.
of
Geschwitz
After the release of Pandora’s
The
United
censorship
Box, in
Germany
character entirely.
States
then
boards
banned Girls in Uniform,
other
eventually allowing for its
countries removed overtly
release after “the excision
sexual
of shots showing the depth
scenes
and
the
or
scenes
36
INTERCUT of Manuela’s feelings and
actual story. Nevertheless,
Local and global audiences,
von Bernburg’s defense of
Girls in Uniform was a huge
however, were not always
lesbianism to the principal.”
success in the United States,
accepting of these cinematic
These
even after the removal of so
depictions of homosexuality,
many important scenes.
or female sexuality in general,
Germany during the Weimar
and as a result many of the
Republic
censorships
prevented
other
from
being
the
sexual
nations
exposed
to
leading
films were censored before
that those in Berlin were
liberation
figure in the representation
was
a
their release. Screenings of
currently
experiencing.
of homosexuality in film. Not
Different from the Others
Instead, censorship boards
only did the nation produce
in Berlin were even met
butchered the films and
what is believed to be the
by
exhibited them as entirely
first on-screen lesbian, but
in protest of the film. The
different entities than what
in 1919 Germany released
films
the directors had intended.
one of the first openly gay
during the Weimar Republic
The narratives were created
films,
have
to be driven by lesbianism
Others. The climate in Berlin
important to the history of
and sexuality, and to remove
during the early years of
homosexuality
this element from the films
the Republic was tolerant
and have continued to be
was to lie to the audiences
of homosexuality, allowing
revered by LGBT and film
and hide from them the
for such films to be created.
historians today.
Different
from
the
soldier-led made
WORKS CITED Germany. Duke University Press, 1990. Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. New Jersey: Princeton University Press, 2004. Mccormick, Richard W. “Coming Out of the Uniform: Political and Sexual Emancipation in Leontine Sagan’s Mädchen in Uniform,” Weimar Cinema: An Essential Guide to Classic Films of the Era. New York: Columbia University Press, 2009. Russo, Vito. The Celluloid Closet. New York: Harper and Row, 1981. Wedekind, Frank. Pandora’s Box: A Tragedy in Three Acts. The Project Gutenberg, 2010.
37
in
become
Dyer, Richard. Less and More than Women and Men: Lesbian and Gay Cinema in Weimar
walkouts Germany incredibly in
cinema
ANABELLE DOLINER 38
INTERCUT
THE FILM THAT CHANGED E V E RY T H I N G GUS TAVO RENÉ
stand get
up kisses,
straight, uncles
aunts get
handshakes, some get hugs (the less homophobic ones obviously), and the cousins
IN A GROGGY, controlled fall
the hell are all these people
get the sincere smiles. It’s
down the stairs, I gripped the
coming to ruin my Sunday, I
time
railing to support my spilling,
thought to myself, without a
exchange funny stories over
Sunday
clue that I was about to have
mouthfuls of chipas and
the bottom of the steps, light
the
transformative
cocido. After our stomachs
peered in through the living
cinematic experience of my
begin to bloat and Tío Juan
room
blinding
life, squished in front of our
has built up enough hype
me at first, then revealing
tube TV with more than
around this movie, he finally
familiar
Caravans
twenty of my cousins, uncles,
asks me to do the honors.
and Toyota Corollas packed
aunts, and family friends,
I take my first look at the
in the driveway. Tío Juan’s
watching a bootleg DVD.
cover. Slid behind the plastic
voice
39
weight.
windows, Dodge
echoed
Reaching
from
most
for
merienda.
We
wrap, protecting a brittle
the
kitchen. He explained to
Sounds
from
DVD casing, is a sheet of
my mom that the DVD he
audible conversation to the
crescendo
paper with an inkjet print
had gotten his hands on had
white noise of unintelligible
of a boy on the run, a quote
broken box office records in
chatter, as the rest of the
that reads “City of God meets
Paraguay. “La gente se están
family and friends trickle
Run Lola Run”, and the title:
volviendo locos para esta
in. I know the drill: sprinkle
7 Cajas. The mechanical
película,” he bragged. Why
some water on your face,
squeak of the DVD player
swallows the disc and the
a
menu pops onto the screen.
wouldn’t get it. Unless, you’re
seeing
I find a comfortable spot on
Paraguayan too, of course.
Mercado 4—our city streets.
the floor with a clear line
You see, for any non-native
On this reactionary level, I
of sight to the TV, signal
or non-heritage speaker, all
wasn’t gasping from shock
everyone to hush with a
films in Spanish seem to be
or
finger to my lips, and click
the same. But for us, there’s
scare; instead, I was in
play.
The
you
just
hearing our inside jokes, our
flinching
recognizable
from
jump-
a vast difference between an
simultaneous awe and tears
Our
Argentine film, a Colombian
from a feeling that can only
eyes are glued to the TV as
film, a Mexican film, etc.,
be identified as some sort of
we follow the protagonist,
The culture is different, the
pride. Not a national pride
Victor on his thrilling and
locations are different, the
per se, but a cultural one.
risky job to deliver seven
people are different, even
mystery boxes.
the language is different. On
Allow me to put it into
one level, I was reacting to
perspective:
My palms are sweating, I’m
the genuine excitement of
a country that has only
stressed, I’m anxious, I’m
Victor’s adventure through
had
laughing. Then, suddenly and
the city, but on another
films ever made as sole
unexpectedly, I’m catching
level—separate
the
Paraguayan
my breath, so I don’t cry in
objective
was
The remaining 70 or so are
front of everyone. Explaining
reacting to the experience of
all co-productions (movies
why I was crying would be
hearing our language (a mix
made
like
of our unique Spanish and
Argentine, Brazilian, French,
Guaraní) on the silver screen,
or
chatter
white-noise-
five-year-old:
evaporates.
explaining
Theory
of
Einstein’s
Relativity
to
from
thrill—I
Paraguay
roughly
feature
productions.
with
some
60
is
the
other
help
of
Western
40
INTERCUT producers).
The
first
for the Best Foreign Film
fly to Paraguay and visit a
Paraguayan
category, two of which were
library in Asunción. To this
film was made in 1978! A
submitted in the last two
day, when I travel anywhere
movie called Cerro Cora,
years. None have ever been
in
funded by the Stroessner
nominated.
people get a whiff that I’m a
feature-length
Administration (the longeststanding
41
dictatorship
America
and
film student of Paraguayan So, in that stuffy living room,
descent, their first question
all of South America). The
all
and
is always, “ahh ¿has visto 7
film was obviously meant
parents alike—knew we had
cajas?” Could you imagine
as
propaganda—picture
just witnessed something
traveling outside the U.S. and
Franco’s Raza, or Hitler’s
special. 7 Cajas was the
someone asking you—solely
Triumph of the Will. The
first Paraguayan film any
on the basis of being an
next
feature
us—children
of us had ever seen. Before
American with an interest in
the
film—“Have you seen Jaws?”
Stroessner was overthrown.
Paraguayan films had ever
Since
only
garnered any wide-spread,
But even 7 Cajas, Paraguay’s
had one film make it to
theatrical appraisal. It was
prized possession, was a
Cannes and three films ever
the first Paraguayan film any
bitch to make. Directors,
submitted for a nomination
one could really get their
Juan
at the Academy Awards
hands on without having to
Tana Schémbori, had to
we’ve
wasn’t
of
made until 1989, the year then,
film
in
South
movie’s
release,
no
Carlos
Maneglia
&
buy
all
from the
their
equipment
Paraguay (yes, just a few
because
tadpoles in an ocean, but
Amazon convenient
rental
still
immense
progress),
houses that exist almost
and an actual audience has
everywhere else in the world
emerged, demanding more
are just not a part of the
Paraguayan productions. It
infrastructure of this Third
put Paraguay on the map,
World
many
it sparked a budding film-
ways, it’s easier for a middle
industry, and it changed all
schooler in the U.S. to make
of us sitting in that cramped
a movie than an aspiring
living-room on that warm
Paraguayan
filmmaker.
Sunday afternoon, whether
Paraguay’s the only country
we knew it at the time or not.
country.
In
in Latin America that’s not a part of Ibermedia (the “all-
I
inclusive” Latin American
quivering
film collective of sorts), and
sore throat from choked
they’re the only country in
tears has launched me on a
South America without a
mission: build a Paraguayan
“Ley de Cine”, a law that
film industry and have our
would
art recognized by a wider
basically
establish
remain
inspired.
That
stomach
and
government funds for film
audience.
productions until the private
plans of my mission haven’t
sector
self-
been exactly ironed out yet,
sufficiency. The fact is simply
but nonetheless, I’ve been
that film had never been
launched. Now, I know I’m
seen as an industry or an art
biased. Perhaps, I only love 7
form worth investment. But
Cajas because of my cultural
7 Cajas changed everything.
ties, or perhaps, it’s actually
Since its release in 2012,
pretty damn good. I guess
an average of 5 films are
the only way to find out is to
being made per year in
watch it yourself.
could
reach
The
specific
*oh and while you’re at it, check out Las Herederas (2018) dir. Marcelo Martinessi ;)
42
INTERCUT
INTERCONNECTIVIT Y AND INDIVIDUALIT Y THROUGH AES THE TICS IN RUN LOLA RUN BEATRIX HERRIOT T O’GORMAN 43
IN
HIS
GROUNDBREAKING
interconnectivity
and
Lola is our heroine and the
film, Run Lola Run (1998) Tom
consequence in unexpected
character
Tykwer employs a variety
ways. There is a tension in
impact everyone else in the
of narrative and stylistic
the presentation of Lola
story; she is also the main
techniques to complicate
and her surroundings; the
and only character of the
our
of
film’s mixed media visual
animated sequences. The
female
aesthetics work to elevate
image of a hero in a video
to
her status as protagonist,
game is powerful; it makes
innovate the way stories
but also to remind us of the
her character feel larger than
had traditionally been told
fact that she is just another
life and capable of taking on
on screen up to that point.
person in the world.
the world. But the random,
a
understanding conventional
protagonist,
While
I
do
and
not
integrated
believe
whose
video
actions
game
Tykwer was interested at all
The use of short animated
aesthetics and the style of the
in raising a moral question
sequences and video game
animation itself also work
in this film, I do think he
aesthetics highlights Lola’s
to critique or at least poke
was interested in crafting a
centrality to the narrative
fun at Lola’s counterculture
compelling film that grapples
and
identity.
with themes of individuality,
almost
position
her
legendary
as
an
figure.
Tykwer
utilises
this video game aesthetic
44
INTERCUT for a few reasons. Firstly,
potential futures reminds
it adds dynamism to the
us that Lola does not stand
frame and keeps us on our
alone, removed from society;
toes. It reminds us that
rather, she is still a person
Tykwer is not here to feed
who is part of a greater
us commercial, commonly
whole, whose actions still
used
have consequences for the
and
unambitious
stylistic
techniques.
pushes
boundaries
He
people around her.
and
innovates, which keeps us
The film’s opening briefly
engaged.
animated
introduces us to all the
videogame-style sequences
The
characters (even the most
are used to highlight not
minor ones) who will service
only the high stakes of the
our plot and feature in our
story, but also the childish
protagonist’s journey. It also
nature of this criminal game
establishes one of the film’s
our characters are involved
primary, thematic concerns:
in. Moreover, the animation
the interconnectedness of
itself is crude and infantile,
all people. The prologue
contributing both to this
begins with shots of all the
image of Lola as grungy and
characters illuminated in a
a part of Berlin’s nineties
crowd. We then zoom out to
counterculture, and to the
see that they all make up the
idea that this game she’s
film’s title, ‘LOLA RENNT,’
involved in is sloppily run
demonstrating that all these
and
people are interlinked.
falling
apart.
Here,
Tykwer is expressing the
45
high cost of pursuing a
Tykwer communicates to us
semi-underground, outside-
how everything we do has a
of-the-law
and
knock-on effect. Through the
presenting Lola as a kind of
opening and then through
mythic hero for the audience
Lola’s characterisation, he
to root for. However, the
may be explaining that we
flash forwards into other
can’t isolate ourselves from
people’s
lifestyle,
the
the people around us no
still photography used to
lives
and
matter how engaged we
demonstrate their different
are in a counter culture;
one can’t simply opt out of being a person in the world by dressing or acting like a
non-conformist.
Even
living outside the law as a criminal and having bright red hair does not make you
untouched
by
the
world of strangers you pass everyday. This idea, and the way in which it is presented through the structure and form of Run Lola Run, is particularly salient, knowing that Tykwer went on to work with the Wachowski sisters
on
their
2012
cross-generational,
globe-
spanning
drama
fantasy
Cloud Atlas, which also very much centres on the idea of our interconnectivity as human beings on planet Earth.
46
INTERCUT Lola is connected to all the
opening up new worlds and
people she sees and meets
new ways of thinking, and
on the street throughout her
looking for an audience. He is
journey, but her individuality
invested in thinking outside
also dominates the film’s
of the box and encouraging
narrative. She may be one of
his viewers to do the same.
many in the bustling city of
His priority is not with the
Berlin, but she is presented
characters’
as unique in a few specific
or judgements, but with
ways. For example, she has
how a viewer follows these
an unexplained, seemingly
characters on their crazy
unique, supernatural power
journeys. It is almost as if
that sets her apart from the
he is not a filmmaker or
people around her: her glass-
even video game designer,
breaking voice. Of course,
but a carnival-ride designer,
she is already our primary
guiding
focus as the titular character
fantastic colourful and multi-
of Run, Lola, Run, and as our
textured house, complete
protagonist, but her unique
with
abilities also present her as
and trap doors, leading us
separate and distinct from
down
and within the world of the
awash with coloured light.
film itself.
He wants to engineer a
us
perhaps
not
truly
the
differences
different
a
mirrors hallways
experience
Tykwer
is
that sticks with a viewer.
interested
in
He certainly accomplishes
between
this in Run Lola Run with
and
a combination of different
mainstream pop culture, or
visual techniques, but he
the status of the individual
also makes us think about
in German society in the late
our connection to the people
nineties, or the far-reaching
around us and our strength
domino effect of our actions,
and power as the heroes of
but
our own stories.
counterculture
47
through
distortion
multi-sensorial But
motivations
rather
with
simply
employs a great use of the depths of DIREC TOR L AST NAME
to tell a(n)
story. This
NOUN
ADJEC TIVE
film was
and
; it flirts
ADJEC TIVE
ADJEC TIVE
with
through the magic of its cinematography, NOUN
and it raises questions about
that YOUR FAVORITE WESLEYAN COURSE
only provoke more questions.
delivers NAME OF YOUR PE T
a(n)
performance that will leave you ADJEC TIVE
. The film is set in L AST REASON YOU WENT TO THE HEALTH CENTER
in
NEW YORK BOROUGH
; in the opening scene, we see a clear homage TIME PERIOD
to
, which conjures up vivid imagery of PROPER NOUN
. Through the magic of the camerawork, this film FIC TIONAL PL ACE
encourages us to reflect on
, and more YOUR LEAST FAVORITE WESLEYAN COURSE
importantly, our humanity.
ALLISON HSU AND BROOKE KUSHWAHA 48
INTERCUT
SPONTANEIT Y AND IMPERFECTION:
IMPRESSIONS OF CASSAVE TES ’ SHADOWS
THEO MATZA 49
AN HOUR AGO, I sat by myself
escapist mechanism? What
to turn his back on. It’s
with a laptop and watched
if
spontaneous,
an American movie from
could
flawed,
playful, and real: one of the
1959. When I think of U.S.
expressive, intimate? These
first promotions for doing it
flicks made in that decade,
sorts of films are in a period
on your own. The film’s stark
I envision the studio system:
of renaissance right now,
individualism, sincerity, and
Cinemascope, movies that
as
unconventionalism amount
are meant to be seen on
formulate
the silver screen. I think
captivate us on the screens
of
that we take out of our
Technicolor,
large
set
pieces and James Dean or
the
viewer be
experience
rough,
American
filmmakers
new
ways
to
pockets every five minutes.
gritty,
to a piece of American film out of step with its time. Cassavetes’ movie follows the
Debbie Reynolds delivering
raw,
short-lived
romance
This was not the case in
of Leila, an aspiring writer,
‘59,
actor-
and Tony, a young licentious
John
man who she meets at a bar.
and
While the film builds around
However, amid all the money
white 16mm tone poem, is
these characters the work
and the glamour, the way in
often credited as the first
is not heavily anchored by
which those stories are told
American Independent film.
their story of beat-era racial
often lacks a certain honesty
The film was a low-budget
tension. Scorsese once said
as to how real people, the
production.
Cassavetes’
ones sitting in the theater,
financed the movie himself
like musical compositions.
experience
with his salary from his large-
Shadows is no exception.
love.
scale acting gigs, money he
The film plays like a series
What if movies could be
made inside the very studio
of interactive moments; it is
made independently of the
system he felt prompted
structured around dialogue-
contrived to
lines
meant
dupe an audience into
surrendering to escapism.
and
Shadows,
turned-director Cassavetes’
emotion,
life,
endure
encounter
black
Cassavetes
projects
are
50
INTERCUT heavy scenes in
daily
grounded
experience.
characters’
voices
invited to be members of
The
the filmmaker’s cultivated
are
world, a web spun of messy
infused with an energy and
relationships and scrambled
humor that feels deliberate
emotions.
and stylized. Cassavetes was known for having his actors
In
improvise, which resulted
Cassavetes
this
world,
what
in extended scenes, like the
himself
one in which Leila’s brother,
free-flowing
a struggling trumpet player,
exchanges,
passionately tells his sister
characters
a peripheral story about his
discussing,
favorite Jazz musician.
and grappling with
concerns
with
is
love.
In
dialogue Cassavetes’ are
constantly
experiencing, real
love. Relationships do not These seemingly irrelevant
simply
moments last longer than
states of tragedy and ones
one might expect. In fact,
of bliss. Cassavetes meshes
they breathe. Benny hides
together
behind
sunglasses
the fun, the culpability and
singing “Mary Had a Little
the sadness, the problems
Lamb”
straight
people live with as they fall
minutes outside a nightclub
for one another. Hel cuts
before
People
from a scene in which young
another.
men are messing around
conversations
in a graveyard, staring into
talk They about
51
his for
two
entering. over have
one
nothing,
about
fluctuate
the
between
happiness
the eyes of statues, to a
music and the nature of
jazz
performance
jokes and of trauma. What
handheld, to a static shot of a
happens on screen is rarely
couple in bed, to those same
imperative to the “story” at
men from before getting
hand. Cassavetes reminds
beaten up in the street by
us that real life does not
strangers for looking at them
straightforwardly captivate
funny.
at every turn. We do not
have both the excitement
necessarily invest in this
and the unpredictability of
film, but rather, we are
the
His
filmed
relationships
improvisational
Jazz
music
that
reverberates
throughout the film. In this vein, the director’s use of long close-ups effortlessly gives his actors an intimate space in which to improvise and to emit subtlety. There is
a
reason
Cassavetes’
first film was called Faces: he captures them like no other, filling the edges of the frame in a manner that is both familiar and intrusive. Cassavetes’
composition
frames the faces of Leila and Tony in bed chaotically close together. We sense Leila’s discomfort at being alone and naked with Tony as he glances over her shoulder in this claustrophobic space. The immediacy of a closeup like this one, the grit of it, is what makes the moment so visceral and real. We see the hesitation in the gazes of these people. We
also
sense
their
hesitation as they say words, and from that uncertainty blossoms
beautiful
improvisational
dialogue.
Lines like “I’m not gonna ask you the story of life—you seem nice” or “I feel like I’m
52
INTERCUT
in a cocoon and I can’t get
Shadows strikes me as the
out” or “You’ve, you’ve just
product of an artist making
got the softest damn lips I’ve
what interests him, and not
ever damn felt.” The delivery
actually caring too much
of these lines could be read
if anyone else likes it. This
as
Audiences
is a concept familiar to us
in the fifties might have
today, when anyone can
wondered
did
make moving images. But
not end up on the cutting
in a moment dominated
room floor. But that is the
by
impression that Cassavetes
Ben Hurs, and Rio Bravos,
seems to consciously go
I cannot fathom what the
after. His work is messy and
experience of watching this
unkempt, but meticulously
free-flowing,
and authentically so. The
individualistic
spontaneity blossoms from
art must have been like. It
a place of care rather than
gave American film room to
negligence.
expand its identity. No one
mistakes. why
they
North
by
Northwests,
low-budget, cinematic
had really done it themselves
53
In a present so dominated
before. Take away the glitz,
by doing it yourself, it’s hard
the mystique, and the dough
not to feel the profound
of Hollywood and you can
impact of Cassavetes’ work.
still feel. What a revelation.
THIS SPRING, the small but
Rebecca Bunch, who “sees
portrayal of female sexuality.
devoted fan base of the CW
her life as a series of musical
The narrative itself is started
network’s Crazy Ex-Girlfriend
numbers.” The soundtrack
when
said goodbye to the show
includes songs both fun and
out [her] career / To chase
and its much-beloved cast
important, touching on an
this California dream” (as
of quirky characters. The
array of social issues. One
so kindly stated by her
musical sitcom, co-created
vital element to the show’s
mother in the Season 1 song,
by Rachel Bloom and Aline
success
“Where’s
Brosh
stars
narrative piece within all the
following her summer camp
Bloom as the lovably erratic
comedic blunder lies in the
boyfriend to his hometown
McKenna,
as
an
insightful
Rebecca
the
“thr[ows]
Bathroom”),
DISSECTING THE FEMALE SEXUALIT Y AND THE SEXY INTELLECTUAL IN CRAZY EXGIRLFRIEND
HANNAH GEARAN 54
INTERCUT
of West Covina, California,
destigmatize the expression
development of sexuality.
with dreams of falling in
of female sexuality, attack
Though Rebecca certainly
love. Though this romantic
unrealistic beauty standards
goes
tension frames the narrative
and
sexual
share of rom-com esque
in more obvious ways in
and
reframe
often-
tropes—there’s even a song
the beginning of the series,
fetishized or desexualized
entitled “The Math of the
there is significantly more
female
by
Love Triangle”—the show
nuance
the
intellectual
her
fair
portrayal
acknowledging tropes and
remains cognizant of these
of sex and sexuality in the
taking them down through
tropes and by recognizing
show than initially meets
the unrelenting cognizance
them, defies them. In “The
the eye. In its subtleties and
of the tropes’ presence.
Sexy Getting Ready Song”
bold Crazy
to
the
musical
and
statements,
“Put
Yourself
First
a
As our beloved protagonist,
(in a Sexy Way),” Bloom
exploration
Ex-Girlfriend
is
and a character with many
challenges
on female sexuality for the
romantic
the
standards through blatant
television cannon. Through
show progresses, Rebecca
irony. Both songs feature
the
certainly
Rebecca
revolutionary
four
main
women,
Crazy Ex-Girlfriend works to
55
expectations,
through
affairs gets
as
the
most
attention in regard to the
female
practicing
beauty
over-
the-top beauty routines to
impress a man, who in these
correctly interpreted.
cases is the dear Joshua Felix Chan. The show does
Beyond the songs’ contents,
not claim these rituals to
musical
be effective nor necessary,
take down these societal
and both songs include lines
expectations.
that directly acknowledge
Getting
the
includes
unachievable
and
cues
also “The
Ready a
help
rap
Sexy Song” section
problematic nature to these
wherein the guest star raps:
beauty standards. In “The
“God, what... this is how you
Sexy Getting Ready Song,”
get ready? This is some...
Rebecca sings “body rolls are
this is horrifying, like a scary
really hard” while performing
movie or something. Like
her various sexual dance
some nasty-ass patriarchal
moves. Taken out of context,
bullshit.”
both
to
music, these lines take on
perpetuate the stereotypical
particular significance. The
model
line would feel ridiculous
songs
appear
of
objectifying
a
to
to
beauty as the be-all end-all.
Quickly
The aforementioned lines,
it fits seamlessly into the
however, defy this premise.
flow of the song without
The stereotypical title allows
preaching its messages to
them to acknowledge the
the audience. The rap genre
toxic standards that exist
itself
outside the world of the
this line from preaching.
show in a concrete manner.
The genre helps redefines
This gives the lyrics, then, an
what it means to be “cool”
obstacle to defy, because the
and “in style,” establishing
titles intentionally objectify
realistic sexual and physical
their subject (Rebecca). The
standards as “in style.” This
show sets challenges for
aids
themselves
of female beauty standards
overcome,
in
set
women and setting physical
to
say
When
dialogue.
rapped,
also
the
helps
however,
prevent
deglamorization
forcing creators to actively
established
by
the
and effectively take down
patriarchy. The fact that
these stereotypes if they
this is a male voice to also
want their message to be
upends the typical notion
56
INTERCUT
57
of beauty standards, as a
own views.
their sex appeal. Crazy Ex-
man recognizes the unjust
Girlfriend takes an entirely
and sexist nature of the
Another
standards which the line
Rebecca’s sexual expression
early on, feminine intellect
denounces.
quick
is her intellect. A double Ivy
is classified as a powerful
nature of the rap also means
league graduate, Rebecca
character trait. In Bloom’s
that the line could easily go
is the most academically
Hamilton-inspired rap battle
unnoticed, adding to the
accomplished
with a rival lawyer Audra,
nuanced takedown of beauty
on the show, and that is
Rebecca
standards set forth by the
displayed in the creatively
“Look,
series. Thus, the creators do
intelligent lines she’s given.
could never catch me / You
not force feed the message
In other sitcoms, intellectual
were close, but no match
to
women are too often over-
scholastically / Nohow, no
include subtle lines to get
stereotyped,
their
way I put the ‘O.G.’ in ‘5.0
viewers attention and make
academic
achievements
G.P.A.’ Here, both women
them perhaps question their
are portrayed as lessening
get power from diminishing
viewers,
The
but
rather
vital
aspect
of
and
of
anyone
different
approach.
From
confidently
raps
academically,
you
58
INTERCUT
each
other,
but
not
by
with a whispered:
“Love Kernels,” she regularly
asserting their sexuality and
references facts like these,
physical appearance over
“I’m like a sexy fashion-cactus.
which
the other as a stereotypical
Livin’ from compliment to
much intellectual curiosity
portrayal of jealous women
compliment,
or
might
topic
handled
to
hint.
towards
Storin’ them in my body
creative thought affect her
through
of
character. Even though the
one song “Women Gotta
drought. I may look dry, but
song also tackles unrealistic
Stick
Audra
if you cut me open, you’ll find
romantic
Together”). Rebecca
use
long
periods
standards,
their
only water inside. Incidentally
Rebecca is still supposed
own lofty achievements to
that’s also a useful fact for how
to be painted in a desirable
assert themselves, gaining
to survive in the desert. But
manner,
power through their genius.
how do I know he loves me? I
tendencies adding to this
This
guess the only way to prove it
desirability.
intellectual
prowess
is portrayed as adding to setting
a
more
her
intellectual
is with abstract symbolism.”
Rebecca’s sex appeal, again
This intellectual sex appeal
realistic
The fun fact and the reversion
extends
standard for this character.
to “abstract symbolism” is
smart in regards to safe sex.
Intellect is vital to who
a subtle nod to the integral
In a song about a surprise
Rebecca is, so it would make
nature of Rebecca’s intellect
hookup, Rebecca sings “Have
sense that any partner of
to her character. Rebecca’s
you been tested for STDs?
hers should respect and
idiosyncratic
analytical
/ (STDs) / Tell me please!
appreciate
that.
qualities surface throughout
/ (STDs) /T hen waited a
Many brilliantly nerdy lines
her everyday life, whether
three-month window / And
put this thematic element
that be to win an unusual
got tested again / Just makin’
into action. In the season 2
her
for
even
to
being
court case (see “Flooded
sure / Most people don’t
song
“Love
with Justice”) or here, to
know about the window!”
Rebecca
opens
assert her sexuality. Like in
while the music dramatically
knockout
Kernels,”
59
propensity
how
more directly in the season
and
(a
hint
demonstrate
crescendos. Musically, it’s a cutesy and creative touch. Thematically, it goes a lot further as it uses safe and smart sex as an additional method
of
attraction.
Despite acting a bit out of her established character by making sexual advances on a guy she just met, this action is not glorified nor demonized. Rather, it presents
casual
hookups
as something that can be both sexy and responsible. Again,
the
intellectual
woman character is not desexualized,
making
the
character stand out further from counterparts on other shows. Valencia, another character, also presents a powerful side of female sexuality, albeit different
from
Rebecca’s.
Even though Valencia is established as “the sexy one”
60
INTERCUT
(as her epitaph becomes in
for most women in society.
the song “Friendtopia”) in
Though the show certainly is
season one, her sexuality
cognizant of the exceptional
becomes
increasingly
nature of this fact, Valencia is
noteworthy as the show
still looked upon as the most
progresses. Valencia aligns
desirable figure in season
with
conventional
one by Rebecca. Rebecca
portrayals of women and the
competes with her over their
misconceptions
regarding
mutual love interest, Josh.
female sexuality. By including
Valencia directly references
this strand of the narrative,
these unrealistic standards,
the show challenges itself
however, so that the other
to defy these stereotypes.
characters can defy them.
more
Valencia presents a narrative obstacle—the
of
Paula acts as the show’s
realistic women who align
answer
with
Valencia.
reasonable
sexual
to
season One
one
of
her
standards. Thus, the show
knockout solos, “Maybe this
must work even harder to
Dream,” is subtly critical in
defy those norms. She is
destigmatizing
the
often-
the
hushed
of
female
most
feminine
61
creation
conventionally character,
topic
and
masturbation. While Paula
also portrayed as the most
sings a Disney princess-
conventionally desirable, as
esque
Rebecca details in her song
dream of law school, she
“Feelin’ Kinda Naughty.” In
says
Valencia’s first solo of the
won’t be like my vibrator /
show, “I’m So Good at Yoga,”
Breaking when I need it
it is stated that Valencia
most.” The casual nature of
“can do things with [her]
this operatically-sung line
body that no human should
within the greater context
be able to do.” Later, within
of the song normalizes this
a list of impressive traits,
commonplace sexual act in
she mentions her ability
a way that many shows on
to
an
major networks would be
unrealistic sexual standard
wary of. It may not be the
vaginally
orgasm,
piece “Maybe
about this
her
dream
most obvious of lines, but
graphically realistic detail,
it is another way in which
bringing everyone on the
the show empowers female
show back to reality. Lastly,
sexuality and its many facets.
Paula also makes one of the hardest decisions in the
Paula also has one of the
series in the show’s third
most dynamic and varied
season: getting an abortion
sexual
romantic
when she becomes pregnant.
experiences of any leading
and
This plot details works to
character on the show. She
destigmatize
is slightly older than the
well as empower Paula by
other three women, and is
showing her full ownership
married with two teenage
over her own body and
children. She could easily be
choices.
abortion,
as
cast into a typical motherly role. However, even in her
Together, Valencia, Rebecca,
relationship to motherhood,
and Paula provide varied
she provides one of the most
perspectives
honest depictions of a real
sexuality.
Through
human
nuanced
exploration
being
throughout
on
female the of
the show. First of all, she is
these characters, Crazy Ex-
portrayed as being sexually
Girlfriend
curious despite having a
more than an amusing show
committed
becomes
much
relationship
with cute musical numbers.
with her husband. Though
Instead, the show contains
she does not end up acting
rich themes and empowers
unfaithfully, her song “His
its
Status is Preferred”—which
realistic
among other things is an
physical beauty standards
exploration of class—reveals
to
her
regarding
Crazy Ex-Girlfriend negates
high-profile male client at
unrealistic standards and
the law firm. In her season
sets its own. It redefines
three solo “Miracle of Birth,”
sitcom
she describes the so-called
women and their various
wonders of motherhood in
sexual expressions.
excitement
central
women
manner.
female
and
in
a
From
masturbation,
empowers
62
INTERCUT
CHARACTER AS CORE:
MAURICE PIAL AT’S A NOS AMOURS JULIA LEVINE
63
OUT OF ALL of the elements
Beyond this summation, the
that make up a good film,
plot of the film is difficult to
I
most
outline. I could say that when
while
we first meet Suzanne she is
movies
at summer camp, where she
have a cast of characters
is acting in a play, spending
that are complex, human,
time
and fascinating to watch,
sneaking off to meet up with
there are some films that
her boyfriend Luc. I could
lean upon character above
tell you that we see Suzanne
all as their very backbone.
fight
The spectrum ranges from
we
character-driven
films,
change and dissolve, and
protagonist’s
we see Suzanne’s ever more
ways of being define the plot,
rebellious reactions to her
to character-studies, where
circumstances. Still, these
the plot seems barely there
events are not really what
in favor of a character simply
the film is about. The core
existing in a world, their life
of the film is not like that of
creating an arc of feeling
other genres. It is not saving
rather than heavy action.
the day, solving a mystery,
While I find myself drawn to
or finding a soulmate. It is,
everything on this spectrum,
simply, Suzanne herself.
find
character
compelling. most
where
And
successful
the
with
friends,
with see
her
family
and
parents, dynamics
my favorite film of this type by far is Maurice Pialat’s A
Yann
Nos Amours (To Our Loves).
editor for Pialat, said in an
Dedet,
a
frequent
extra feature on the A Nos A Nos Amours began as a
Amours
DVD,
semi-autobiographical script
usually
throws
from
scenes,
even
Pialat’s
collaborator
“[Pialat] out if
bad
they’re
Arlette Langman but soon
important
took on a life of its own. The
sometimes there are holes in
plot-wise,
so
film follows fifteen year old
the plot.” This does not come
Suzanne as she navigates her
as a complete surprise, as
first loves and lusts and tries
Pialat’s narratives are never
to find a place for herself
tightly plotted, but with A
in her overbearing family.
Nos Amours it is also not
64
INTERCUT
apparent to viewers that any necessary scenes are missing.
The
characters
do a lot of the work in the plot’s stead. In order to let so much fall to character, though,
a
director
must
have great actors. Pialat truly trusts his cast with the responsibility of portraying believable characters, and in A Nos Amours, he made an excellent discovery when he cast Sandrine Bonnaire in her breakout role as Suzanne. Bonnaire would later go on to star in Agnes Varda’s Sans Tuit Ni Loi (Vagabond) and appear in over forty other films. Perhaps the most
crucial
secondary
character, if such a hierarchy of character importance can be established, is Suzanne’s father, who is played by Pialat himself. Given the talent of his leading actress and the control Pialat had as both a director and an actor
playing
opposite
her, magical moments of improvisation were possible between them. The
most
improvisation
65
famous in
A
Nos
Amours takes place during a
family and his reappearance
dinner table sequence where
is a surprise to the characters
Suzanne, her mother, and
and actors alike. Despite this,
a few other characters are
the actors react while never
gathered together, talking
breaking character and the
of everyday subjects and
charged scene which follows
having a regular evening.
is
The ordinary dinner is then
improvised. Pialat barges in,
interrupted by the return of
offers insults, receives a blow
Pialat. The man that walks
from his wife and shoves her
into the scene, however, is
against the table in return,
not Pialat the director, but
and asks Suzanne which
Pialat the patriarch, who the
side she is taking. Such a
confused actors thought was
scene, with its unpredictable
long gone. Earlier in the film,
nature, would have a hard
Suzanne’s father had left the
time finding a place in a film
supposedly
completely
66
INTERCUT
prioritizing plot structure.
D’Abord
Pialat’s
centers
loose,
character-
(Graduate around
a
group
centered tale enables this
of
dinner to fit into the larger
Suzanne and her friends,
film
going about their lives and
despite
the
specific
teenagers,
First)
similar
getting
closer
to
spontaneous reactions of his
slowly
actors, which he could not
taking their baccalaureate
have anticipated.
exams.
L’Enfance
to Nue
(Naked Childhood) takes a
67
A Nos Amours is perhaps
younger protagonist as its
Pialat’s
well-known
subject, following a ten year
film, but much of his less
old child as he is shuffled
famous work finds character
between
at its core. Passe Ton Bac
Throughout
most
foster his
homes. career
Pialat has been praised for
her mother’s death. All of
his unsentimental style and
these films feature female
commitment
leads
navigating
but the fact that critics see
to
which
do
these traits in his filmmaking
understand them and which
may stem, at least in part,
they often do not seem to
from Pialat’s treatment of
understand in turn. Their
character. He tells stories
directors, however, do not
that are not about things
judge
happening, but about people
for their misplacement or
happening, about interesting
incongruities
but
they allow them to find their
human
“realism”
characters
moving through their lives
not
these
worlds seem
to
protagonists but
instead
way.
without contrivance. A Nos Amours is unique Of course, Pialat is not
in its decision to actively
the only filmmaker with a
take viewers into Suzanne’s
particular focus on character.
moody
Others work in this tradition,
reminding us what it was like
and many are notable for
to be her age by following
their choice of young adult
her
or child protagonists. Benoît
exciting and quotidien. A
Jacquot’s La Désenchantée
crucial gift of this character
(The Disenchanted) takes a
narrative is the inherent
female teenage protagonist
realism it engenders. Pialat
like Suzanne and explores
offers us a slice-of-life where
many of the same themes
truth is foregrounded over
as A Nos Amours. Léa Pool’s
the type of dramatic or
Emporte Moi centers on a
flashy scenes that can only
younger girl but still finds
happen in movies and not
itself in similar thematic
in reality. The awkwardness,
territory.
recently,
confusion, and frustration
Carla Simón’s Summer 1993
of growing up is given room
arguably falls into the realm
to breathe, and the everyday
of
More
character-driven
in
personal
moments
world,
both
films,
trials of youth become as
following six year old Frida
meaningful to viewers as
as she adjusts to life after
they are to the characters.
68
INTERCUT
THE POLITICS OF REPRESENTATION I N H O L LY W O O D
69
K A L E E K E N N E DY WITH
THE
INSURGENCE of
over-the-top platforms like Netflix and Amazon Prime and
cyber-communities,
the world has seemingly decreased in size with the help of an expansive media playground. Representation of
global
and
minority
cultures other than that of
the
Anglo-American
can be produced for an international
audience
through the accessibility of these platforms. Whether through Netflix and other streaming
services
traditional
or
Hollywood
studios, both facets of the industry misrepresent the minority groups they claim to champion when, in reality, they have profit on the mind. Considering this, it becomes harder to understand how Hollywood
still
fails
to
70
INTERCUT
represent
of
have generated a sense of
different cultures accurately
individuals
trust between the Black
through the narrative lens
community and the Netflix
that’s been curated.
corporation.
In
actuality,
the relationship is flawed. Netflix
has
been
The
Strong
Black
Lead
instrumental in the past year,
campaign foregrounds the
using social media strategies
seen, while the behind the
to create the illusion of
scenes representation is still
valuing
inadequate.
representation
in
television and film. Netflix uses social media platforms
Netflix’s
to highlight Black talent
Spanish-language
and content creators with
Siempre Bruja (Always A
calendars
Witch) fell into this trap.
series
Black (or minority) driven
Netflix
shows and films coming
series for its focus on a racial
each
class
month,
exclusive
championed frequently
this
ignored
interviews with talent and
in South American media.
creators about their career,
Several Black viewers raved
and
social
media
posts
about the show after viewing
from
the
audience
that
its trailer, but as soon as
adhere
71
showcasing
Afro-Colombian
mission.
the series was released it
According to The Los Angeles
to
their
was panned by critics and
Times, “Strong Black Lead
viewers well-versed in racial
represents
stereotypes
an
intentional
and
tropes.
focus from Netflix to talk
Strong Black Lead centered
authentically with the Black
promotion for this show on
audience.” These strategies
their Twitter and Instagram
profiles and even featured
to
it
Black
minority groups. Following
Mexico,
Despite
the series’s dismal release
the makings of a coherent
dark-
and the cancellation of its
and
critically
worthy of the high movie
on
its
Lead
Strong
calendar.
foregrounding skinned
a
Afro-Colombian
the
representation
successful
of
Latin
soap opera and shot in
woman, the crew and cast
American original One Day
ticket
surrounding
film
engaging prices.
lacked storyline
Conversely,
main
at A Time, many members
in the past year the same
character are all White Latin
of Netflix’s audience have
production
Americans and, as evident
come to question Netflix’s
released a box office and
by the storyline, ill-equipped
dedication to representation
critical
to tackle racial stereotypes.
rather than profit.
winning Spider-Man: Into the
Siempre
the
the
Netflix’s
Bruja,
companies
hit:
the
award-
Spider Verse. The animated
second Colombian series,
As we turn to the Hollywood
feature film represented a
failed Black History Month
studio
young
by propagating a slave/slave
Pictures and Sony Pictures
Morales, coming into his
master love fantasy story.
took
at
own as Spider-Man. The
One of the producers even
representation by utilizing
project featured an African
specializes
Latin American star Gina
American director and a
genre and created a series
Rodriguez
a
Cuban American producer
entitled
Slave
Mexican American remake,
and writer. The Spider-Verse
for Colombian audiences.
Miss Bala. Despite boasting
team created a project which
Netflix
the
a cast and crew comprised
accurately depicted Miles
potential revenue from its
of 95% Latinx individuals
Morales’
engaged Black audience and
and a female director, the
without
their otherwise successful
film was met with dismal
stereotypes. By attributing
Strong Black Lead campaign
critical reviews and equally
roles to members of minority
to
disappointing
groups in decision making
into
in
The
this White
foregrounds
dupe
the
racist
community
consuming
system, their
Columbia
chance
to
helm
box
office
Afro-Latino,
dual
identities
playing
(producer,
Miles
into
content
numbers. Although the film
roles
director,
independent of its benefit
was derived from a Mexican
writer, etc.) as opposed to
72
INTERCUT attributing
minorities
to
as many roles as possible on a crew, the film avoided the pitfalls other identitydriven
projects
encountered
by
have coupling
misrepresentation disjointed Because on
to
with
storylines. the
sell
film out
went
theaters
domestically
and
internationally, Spider-Verse broke
barriers
regarding
myths of exportability and minority-driven media; the myth perpetuates that any form of media with a person of color as a lead will not sell outside of the United States of
America.
Spider-Verse’s
commercial success drives production companies to
presentation,
realize that accurate and
elites
the
few Black members of the
careful representation is the
advancement of accurate
production, the movie was
key to profit.
representation, perpetuating
chosen by the Academy
misrepresentation through
as
tropes,
While
73
tired
the
best
film
even
storylines,
though the past year saw a
and disappointing casting
ground-breaking display of
this strategy, it doesn’t come
practices under the guise of
representation of minority
without its challenges and
money and tradition. This is
groups.
qualifiers. Even though the
best exhibited with the 2019
top-grossing film of last year
Academy Award for Best
It is not lost on the average
was a Marvel film directed by
Picture, Green Book. Rife
viewer that it took seventeen
a black man and there was a
with controversy regarding
Marvel
films
semblance of racial diversity
misrepresentation of Black
Panther
to
with the Oscar winners at
historical
racist
and released for a mass
this past Academy Awards
ideologies held by crew and
audience or that it took
slowly
studios
halting
cast, and tokenizing the
understanding
are
Hollywood
are
Hollywood
figures,
be
for
Black
produced
Hollywood executives and
the
actors utilizing their own
lead back to money in this
production
to
industry. Until established
ensure
company
that
All
roads
roles
executives realize that profit
were not white washed with
can stem from adequate
Crazy Rich Asians and To All
representation of minority
The Boys I’ve Loved Before.
groups,
Frequently Hollywood studio
companies and platforms
executives see these cultural
will arise that will advance
phenoms
to
Asian
industry.
production
outliers
on that truth and challenge
and not indicative of the
the traditional companies.
change in tide of audience
It is time for the next
reception. Audiences have
generation to see themselves
grown
and
generation
be
new
the
younger
represented in the media
is
bringing
they
their own perspective to
consume
and
for
Hollywood to see its worth.
74
INTERCUT
“ S T O P C RY I N G A N D M O V E YO U R H A N D S ” AT 4:30AM ON THE morning
shot in just under an hour.
camera rested on a stack of apple boxes and a sandbag.
of the first shoot day for my thesis, I rode in the car with
“Listen.” He was stern. It was
Babe, one of the producers
what I needed. “If this is the
I didn’t always want to
of my movie and my best
worst thing we have to deal
make movies. I didn’t have
friend. At the time, the two
with, we’re lucky.”
some dream of standing behind
labels were one and the
a
camera,
didn’t
We were driving to
This shot (the one with the
write screenplays or act out
Dunkin’ Donuts to pick up
missing tripod) is one of my
sketches in front of my family
coffee for the crew. It was
favorites in the film. I rode in
and
cold, still dark out, and I was
the back of a pickup truck,
assignments in class, the
crying. I had only moments
tracking my lead as she
only thing I had made on my
earlier
my
walked through a parking
own before my thesis were
tripod was missing. We were
lot on the way back from her
a handful of short additions
supposed to get a sunrise
late-night radio show. The
to the found-footage horror
same.
realized
that
friends.
Aside
from
ON MAKING A MOVIE MEG WEST 75
From Meg West’s On Air
series,
Encounters.
ladder outside my window,
you sign on to make a
Grave Encounters 3 (we were
screaming as if something
production thesis. When it
picking up where they left
was pulling her through,
came down to it, I thought
off ) was set in my unfinished
my camcorder capturing it
it was the most promising
basement. My best friend
in night-vision mode. We
of a handful of bad ideas, the
leaned down towards the
watched the footage back
one that had the potential to
concrete with a piece of
immediately after each take.
be the most beautiful. There
Grave
duct tape to mark a scratch
was a deadline, work to be
on the floor, looked up at
My thesis wasn’t a “passion
done on this half-baked idea.
the camera and said, “This
project.”
been
I have to tell myself this is a
is definitely a paranormal
working on the idea for
passion project, I thought, or
hotspot.” You can hear me
months, didn’t feel that it
it won’t get finished.
laugh in the background,
“needed to be told,” or any of
say, “Sorry, sorry, go again.”
the shit the film department
The
Later,
says you should feel before
again and again, I watched
she
stood
on
a
I
hadn’t
script
was
edited
76
INTERCUT strangers
read
my
lines
back to me in audition tapes online, made shot lists, met with my crew, phoned in so many favors that I feel I am forever indebted to my friends. I spent hours in the editing room, holding a flashlight to cut up pieces of film trying to identify them. Cut, tape, run it back. Cut, tape, run it back. Untangle 400ft of film that’s come unraveled from the center of the core. Cut, tape, give up, go to bed. I hated the movie, frequently. There were weeks where I felt emotionally rocked by things outside the world The crew of Wilson Lai’s Karaoke Superstar
of the project and couldn’t look at it. I felt tremendous guilt at the fact that I had crowdfunded most of my budget, felt that what I was capable of was not worthy of the kindness of friends, family,
strangers.
The
flipside, though—and I’d be wrong not to mention it: I felt grateful, I felt inspired, I felt productive, I felt lucky.
I sat in one of the editing rooms in the film center a
77
couple weeks ago and asked
going to come out of it, but
some of my fellow thesis
I really do enjoy being on set
filmmakers
their
and I wanted to create an
processes, curious whether
about
atmosphere on set where
my ups and downs and self
my crew members had a
doubt were normal or a sign
really good time and would
that I wasn’t cut out for the
remember being on my set,
job. I was about to shoot
because some of my fondest
the credits for my film, and
memories at Wesleyan were
had a 16mm camera set
being
up to record the screen of
theses sets.”
on
other
people’s
a desktop Mac (if anything can display the weirdness
MEG : “Would you say that
of working in an outdated
it was more about making
medium, it’s probably this).
a movie than making the
As
movie you made?”
we
approached
the
deadline, it was a almost a given that most of us were
WILSON : “Yeah. But it slowly
in the film center together
became,
at some point every day,
movie, rather than a movie.
commiserating,
like...this
is
the
watching
Right now, I’m definitely
each other’s cuts, asking,
happy with it. [He laughs.]
Does this work?
It’s lonely editing.”
WILSON
L AI
Superstar):
“I
(Karaoke always
felt
JUSTIN
KIM
(Rockabilly
Vince): “I knew I wanted
like it was inevitable that
to
I was going to do a thesis
something to do with race
something
and there were definitely
relations,
and
possibly
ideas, even from Freshman
a
piece,
and
and Sophomore year…but
something fun, along the
I did procrastinate, and I
lines of this thing I had
scrapped an idea the week
saw in Tokyo-Ga. Over the
before our first drafts were
summer
due. I was definitely excited
around for costumes and
to make a thesis. Not only
thought a lot about how
for the product that was
I wanted it to look, but I
period
I
had
that
had Justin Kim
a
shopped
78
INTERCUT didn’t really pour enough
with the kind of work that
was
definitely
personal—
time into the screenwriting
the crew and I did, but I don’t
and
still
It’s
process and I think that I
know that I’m happy with
thinking about just before
blazed ahead without really
the kind of prep and amount
shooting, [our advisors] were
realizing how many steps I
of thought and time I poured
talking about sets that get
was missing. I thought I had
into it myself. I’m frustrated
condescending
all this momentum because
because it’s not the best
bad vibes, and I thought: This
I knew that I wanted to make
thing I could have made.”
will never be my set.
to make films, and it was
GUSTAVO RENÉ (Pacurí): “I
And then, I don’t know,
important for me that the
started writing the script
everything went wrong. So
film I made had something
Spring break of my Junior
quickly. The first day, before
to do with Asian American
year. It was definitely a
we even started shooting,
representation. But where
passion project. I thought
we were an hour late. It
I find myself now is that
of the idea Sophomore year,
was a shit show. The mag
there were a lot of things
was fleshing it out, and
got dropped and we were
that I missed that I didn’t
started writing spring of my
shooting on one roll. It was
realize I had missed that
junior year, because I knew
supposed to be an easy day!
I’m dealing with now, after
I wanted to shoot early and
A three-hour day!”
the fact. There were these
was excited to do it. It’s a
key realizations that I would
story that very much related
Other set horror stories from
have liked to make earlier
to my childhood and my
my peers involve almost
that I didn’t make. I’m happy
sister’s childhood and so it
getting hit by a car with the
is.
and
funny,
have
a thesis, I know that I want
From Gustavo René’s Pacurí
79
camera in hand, fear that the whole day was shot on 60fps—a mistake that almost guarantees a reshoot, a light meter stuck in the wrong
setting,
a
double
exposed mag, hours of rain on a day that was planned to take place outside in the sun, actors that dropped out, late ADs, unhappy landlords, things lost in the mail, props left at home. Editing, though, is an entirely different beast, a gruelling process with its own set of roadblocks.
And it is, for
the most part, extremely solitary.
GUSTAVO : “I really love the post-production
process
On the set of Alice Goldberg’s Gia
80
INTERCUT because I feel like I have to
I was writing the movie. I
and desperate. The thought
build this big puzzle, and I’m
want to be done.”
of having to piece everything back together if my hunch
really having fun with it, and I enjoy being here for hours.
On any given day during
wasn’t correct rendered me
But I also want to move on.
Spring semester you can
frequently useless.
I was in love with the story
walk in on someone working
originally and now I think
who will tell you confidently,
For the most part, though,
it’s stupid and corny and
“My movie is terrible.” At
there is a near consensus
cheesy—you know what I
the rough cut stage, when,
from the people I’ve talked
mean?”
as Gustavo said, you are
to that making a thesis
building
and
was their best experience
Everyone makes noises of
reckoning with the things
at Wesleyan. And I agree.
agreement.
you wish you did, there are
There is nothing like waking
moments when it feels like it
up at 5am and seeing your
SEBASTIAN
puzzle
MOLLER
just won’t work. I’ve had days
crew there, ready to help
(Undertow): “I feel like what it
where I went to the editing
you, nothing getting a shot
looks like is very true to what
room
hours
you know is—even in some
I was trying to do. I wrote
watching my footage, unable
small way—magic, nothing
several drafts when I was in
to make a single decision,
like hearing a song that fits
a bad place and editing it
the concreteness of the the
perfectly in a scene, nothing
makes me reflect on that in
blade on the film—the little
like putting your film on the
an annoying…I’m not feeling
shhrrrrk as it cuts—making
flatbed or uploading your
the same way I was when
everything seem permanent
footage for the first time and
On the set of Wilson Lai’s Karaoke Superstar
81
a
and
spent
watching it back.
mirror.
Foggy
nothing
emptiness in front. I wish I You see, this is what I was
was still making it.
scared of. The glossing over, the feel-goodness of looking
I was hoping to write this
back at something in the
in the thick of the thing—
rearview mirror, the period
in the thick of planning, or
of time after something is
shooting,
done in which you feel sure
I couldn’t. Mostly because
that it was worth it. That
I didn’t have the time, but
period of time is miniscule in
also because when I was in
comparison to the amount
the middle of the movie-
of time you spend in front
making process (something
of your footage feeling like
that sounds concrete, but
absolute shit, the amount
was messy and sloppy and
of time you spend making
emotional in ways I didn’t
phone calls to hotels and
anticipate) I couldn’t see
locations and actors, the
the edges of it. I wanted to
amount of time you spend
write about how angry I felt
with your script, listening
while I was making it, how
back to your dialogue, it
incompetent and dumb I felt,
ringing phony in your ears.
and thought that if I wrote it
I took a picture of myself
in a moment of feeling that
looking disheveled in the
way I might get at something
editing room on my phone,
honest about making “art”
captioned it, “This is to
that I wish I knew before I
document
had started.
the
complete
or
editing—but
and utter despair that is making a movie lest I forget
But the movie is done,
and ever think that I want
getting printed at a lab in
to do it again” and saved it
Maryland
to my camera roll. Sounds
back to me any day now.
dramatic. It was dramatic.
I can’t make changes. It’s
I’m not sure I was being the
wrapped
least bit ironic when I took it.
times around a 3-inch core
But, here I am. On the other
forming
side. Movie in my rearview
black disc, an infuriatingly
and
shipped
hundreds a
of
medium-sized
82
INTERCUT
Lisa Hanawalt’s Moosefingers
simple thing to look at and
Maybe this isn’t as profound
making stuff is worthwhile
hold considering what it
to you as it was to me, but in
if you spend the whole time
took to make. Predictably, I
case it is:
doubting
now feel nostalgic—sappy,
“It doesn’t matter if you feel
nights before shoots staring
almost—about it. Not mad,
good or bad while you make
at the ceiling feeling like a
or powerless, just a little bit
stuff.”
fraud, thinking about the
sad, a little bit proud, a little bit disappointed.
spend
crew members who are going The goodness and badness
to show up for you, help you
that
with
turn something half-baked
It’s important to me that you
making “stuff ” is probably
comes
along
into a reality. Maybe you will
know this: You don’t have
inevitable.
some
ask yourself if it’s worth it if
to have full faith in yourself
people feel the lows and
what you make disappoints
to make something good.
the highs more than others.
you, if it doesn’t quite work,
More times than I can count
Maybe some people feel
if it fails entirely. Maybe you
during the thesis process,
the lows the entire time.
can’t answer that—not from
I thought back to a comic
Maybe some people feel the
inside the project, not from
by Lisa Hanawalt, called
highs the entire time (I don’t
outside it. Maybe you just
Moosefingers.
trust
have to try again. And again.
Maybe
them).
Maybe
you
will ask yourself whether
83
yourself,
And again.
S I VA N P I A T I G O R S K Y R O T H 84
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