C'è qualcosa di inespresso nelle immagini di Butter on the Latch. Qualcosa di intrappolato in esse. Che rimane incastrato nel montaggio. Una misterica liberazione bloccata, rimandata costantemente. Schiacciata tra un Tom à la Ferme e un Leones. Butter on the Latch è uno sciamanico tentativo di purificazione pulsionale, come un impossibile incontro/scontro tra A Spell to Ward Off the Darkness e Mesa sto Dasos.
A Balkan music festival in California reunites two old friends but their weekend devolves into self pity, petty squabbles, hooking up and perhaps even murder. The out of focus cinematography throughout, though supposed to be arty I suppose, eventually becomes very tiresome. Dialogue was improvised by cast and film somewhat suffers on that front as well despite a strong turn from actress Sarah Small.
La camera a mano , il costante utilizzo del fuori fuoco e l'alone di mistero che permea la pellicola creano un'atmosfera straniante che tocca picchi ti inquietudine clamorosi ( la scena della vecchia che sorride è raggelante) ,tuttavia non chiarisce troppe cose, i personaggi all'infuori di sarah sono fondamentalmente marginali e i dialoghi riempitivi. Avrebbe funzionato meglio come mediometraggio ma è cmq positivo
Except for a few interesting flourishes this doesn't amount to much for me. The "expressionistic" dream sequences didn't work for me, and the more down-to-earth relationship-storyline was too surface-level to really leave an impression. There are many moments to like here but as a coherent movie this fell flat for me,
"The ambiguities develop their own bizarrely compelling rhythm. [Decker] presents each development in fleeting, at times aggressively confounding fragments that never lack an inviting sense of strangeness. Beautifully captured by cinematographer Ashley Connor...." - Eric Kohn, Indiewire
As the music grows louder and more complete so does the plot, finally swirling with the pace of the camera's eye. The focus always lingers just outside the main actions at play, drawing the viewer from the characters' experienced moments into their fateful actions. Disorientation abounds, but a complete picture results from the pieces; a film of manipulation and mania in the presence of conflicting passions.
Sort of felt like Bujalski characters in an Apichatpong Weerasethaku film. Really admire and respect the size of the crew on this and like an Apichatpong film, has some really incredible moments towards the end after a long build-up. However, didn't feel as powerful or as effective as either of the previous filmmakers mentioned. Definitely seems to be carving out her own style though.
Banana slugs. Slivovitz. Inexplicably long monologues about salt scrubs. Horror movie cliches that don't quite jive with the free-associational vibe. Quasi-tonal a cappella score that sounds like the love child of Björk and Stravinsky. If you're in the mood for an experimental improvised psychological thriller (and who ISN'T?) this is a frustrating but worthwhile little nugget.
La foresta, scostando col dito l'inquietudine di Sarah, si riveste di tutte le sue attrattive per festeggiare il sogno di una (re)incarnazione del pudore, di un'immagine perfetta dell'innocenza degli angeli... http://visionesospesa.blogspot.it/2015/05/butter-on-latch.html