A wildly surreal, outrageously funny and strangely touching documentary about a truly Outsider Artist, Giuseppe Andrews, who has made 30 feature films starring the seriously impaired residents of his trailer park.
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This film was so wonderfully strange. I’m sure there was some meaning behind the weirdness although I couldn’t help but laugh throughout the whole film. A majority of it was aesthetically pleasing and enjoyable while the remainder was uncomfortable to view. Overall it was a great pastime
This is one of the strangest yet charming movies I have ever seen. At first, I thought it was an animation from the thumbnail and then I realized it was something much more unique. The main character is someone who at first seems too dirty and profane to be likable, but as the movie goes on he becomes very enjoyable to watch. I would highly recommend this movie to someone who enjoys independent films and hyperrealism
Intimate and smart. The thrill of making movies isn't in the product, but the process--makes me wonder if Bresson ever spent a night or two in Ramona's trailer park. Giuseppe and friends are certainly refreshing if a tad gonzo, Garbonzo Gas deserves multiple awards from multiple sources for its multifarious accomplishments, although I can't think of any at the moment.
I am a big fan of Mr. Andrews, my unabashed coeval, and am very much taken w/ the strange beauty and brilliance of his ongoing cinematic project. In many ways Adam Rifkin was the catalyst who encouraged Giuseppe to start making movies in the first place. It is more than a little disconcerting, then, to see Rifkin make a doc about Giuseppe and his stock company that is basically just wacky people doing wacky things.
Maybe my favorite Rifkin film. First film I saw if his was The Chase with Charlie Sheen and to see that and then later on this, even if I was a kid this really should've been my introduction to his work.
Loved it. Full stop. Best. Filmic ars poetica. I've seen. However, and unfortunately, it's also off the charts myopic. Giuseppe's world possesses a pervading doom that isn't ignored, but isn't fully acknowledged, either. What's happening is, how fucked everyone is, is being leveraged to make strange/striking art. Rifkin could interrogate this more deeply but instead opts to focus on humanistic warmfuzzies. Oh well.