Synopsis
A young woman demonstrates extraordinary love in an ordinary way.
The structure of this narrative short film intentionally follows Paul Schrader’s theories regarding the films of Yasujiro Ozu and Robert Bresson, as put forth in his book “Transcendental Style in Film.”
It was shot on a Panasonic DVX100A equipped with a self-made 35mm lens adapter.
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Comments
Dan George Croitoru
22Sep11
Yes, the idea is touching because it is sincere (which is rare for "young" cinematographers - I'm also new at it and try hard and fail all the time). For this, bravo! Now, the critique: I felt there is a lot of redundancy and unneeded camera movement when following the girl around. You have a lot of good footage so it's all rests on editing decisions. Following her every movement but not actually seeing her is tedious because the viewer understands immediately and either gets bored or needs some distance to reflect. This style of exposition in which the camera follows someone all the time and there is not enough decision on what to hide is the mark of the first year in a film school (I see it all the time and don't worry I did it a lot). I think the use of 35mm DOF adapter did not add much. I'm sure the film would have worked without it. Anyway, I liked it, it is promising. I don't know what to say about the references to Cassavetes, the Schrader's book, etc. In my opinion you should never try making a film in a certain style - if the script/story springs from a truly touching experience - so it is you there - it will work. And in your case it worked. Okay - that's it and sorry for my English - I'm not American -) (fortunately)
Follow My Film
23Feb11
Thank you for remembering my film and for taking it so seriously! Since Toby's comment, I too have wondered if the laugh could have served the film better if I revealed it at the end! Unfortunately, due to the "plot," i.e., her preparing the meal and the time of day, I cannot re-edit and position the laugh at the end. BTW, the laugh was totally unplanned and organically occurred during filming (Cassavetes would have been proud!). Overall, though, I was simply "inspired" by Mr. Schrader's theory. I did not set out to follow the style to a T. My greatest adherence was the minimal plot in the beginning. I literally have had people say that they were getting really annoyed, but when the old woman was revealed, it paid off - that's exactly was the style does (sparse means). The visual style is definitely "abundant"! I fully realize that and chose to shoot that way because, quite frankly, I LOVE IT! Again, Cassavetes would be proud. Like him (dare I say!) I love to grab the camera and get close and intimate with my actors. So, yes, I most definitely embraced it and chose to shoot it that way, versus a more sparse technique, exemplified by Ozu. Thank you again so much!!!
a Smith
17Feb11
This, I think, was the first Garage film I watched sometime last year (primarily because of your description as being inspired by Schrader's book, which I had heard of but never read). After finally getting around to reading _Transcendental Style in Film_, I thought I'd revisit this with that in mind. I can definitely see that the narrative, as you say, is inspired by Schrader's triptych definition (although, like Toby below, when they shared that laugh, my reaction was "ahh, a little too early to be totally in line with the book"; had it come at the end, shortly before your stasis--the folding clothes, especially the shirt on Jasmin's(?) lap--I wonder if it would have been even more satisfying and according to the style). I also noticed that visually, you deviated from the style, and while too much time may have elapsed since you planned this to be able to answer, this leads me to a curiosities. Did you deliberately shoot in a visual style that did not conform to the Transcendental style, or was that done out of necessity? If the former, was it an experiment or a way of adapting the style for the modern era (as commented on in the conclusion); if the latter, was it a sacrifice, or did you embrace it beforehand, taking it into consideration as you structured the film? Alternatively, did you follow the style visually also, and I misunderstood? Thanks for sharing not only the short, but your inspiration; I knew exactly what I wanted to watch as I finished the book, and I wasn't disappointed.
Follow My Film
5Jan11
Thank you very much for the encouragement and support, Byron! I'm definitely trying to do my best and hope that I can continue to do so for as long as I can! I'll definitely keep you in-touch regarding GIRLFRIEND 19. Peace...