After being released from prison, Billy’s (Vincent Gallo) first port of call is to find a bathroom, but instead he finds dancer Layla (Christina Ricci). He persuades her to go with him to his parents and to pretend to be his wife. To his surprise she agrees and plays her role convincingly.
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Beautiful in a cripplingly shy kinda way. Moments of humour and frustrating awkwardness. I adore the subtle colour tone of this film. Like many of my favourite films it's one where nothing really happens (see Lost In Translation) but that's exactly what is enjoyable; not what happens but what doesn't happen and that is even more true with Buffalo '66.
I watched this for the second time yesterday, and having that craving for about 3 years, I must say that I am so far from disappointed it is unreal, better than I remember.
Vincent Gallo is just absolutely superb, charming and visceral. The repetitiveness of his speech, the childlike nature of his presence and the opposition of disregard and regard for his surrounding makes this film thoroughly enjoyable and funny.
So many great quotes come from this movie, there should really be a thread dedicated to them.
"I don't give a shit about you, or your fucking hot chocolate."
"What is this--is this a shifter-car? I can't drive this."
"I drive cars that shift themselves."
I loved how Anjelica Huston tells Vincent Gallo that it's all his fault how she missed the Buffalo Bills only Superbowl because he was born that day. Gallo later commented that "Christina Ricci is a fat pig who was constantly stuffing her face with pizza". He always has something nice to say about his co-stars. Ben Gazzara is brilliant, too, as is Kevin Corrigan.
Vincent Gallo's first film is one of the best film debuts ever. It is a wonderfully aestheticized film, grimy & washed out but fluid & intimate in technique. It's a very funny film, almost endlessly quotable, but Buffalo '66 is raw & tender unlike most I've ever seen. It's a forgiving & compassionate work of art & Gallo gives one of the most vulnerable performances I've ever seen an actor give. A great great film.
The question about the difference between the artist and the art remains. Gallo's analysis of dysfunctional masculinity is so close to the bone that there is a blurred boundary between his on-screen persona and Gallo himself. As a film exclusive from the context of reality, this is a profound piece. If Gallo can break through the regressive elements of his character, (cue: film's final sequence) it may vindicate him.
Astounding. One of the best films I've seen in a very long time. I loved the way the film could be stylistically playful, without it overshadowing the fantastic story. The dialogue was brilliant and the moments of comedy were very funny indeed. However what I liked most about this film was how emotionally involved I became in Billy, who is such a great character. It's a very sweet, innocent film at heart.
Like La Belle Noiseuse, an extended dramatisation of the relationship between 'actor/model' and 'director/artist', with Gallo leading Ricci's performance throughout, dictating her actions, defining her personality, posing and prodding until finally, he gets what he wants. It's also an exploration of Gallo's personality: brash, caustic, volatile... yet punctuated by a desperate vulnerability and a need to be loved.