Our Daily Free Stream: (...) Es braucht keiner Worte, um zu sehen, dass Buds Herz gebrochen ist. In Kalifornien trifft er endlich sie, Daisy (Chloe Sevigny), in einem Hotelzimmer. Vermutlich wissen die meisten bereits, was passieren wird, denn das ist die Szene, für die The Brown Bunny berühmt wurde. Ja, die Szene ist explizit. Nein, sie ist nicht grundlos. Wir verstehen Bud, seine Sexualität, seine Schuld(...)
Part love letter to the landscapes that inhabit America and part suicide note fueled by the insatiable grief inhabiting Bud. Every encounter with the flowers is obviously driven by the desire for satisfaction, yet they all wrap up with a sort of post-orgasm guilt that maybe only a boy could know and he's doomed to repeating his cycle. Like a continuous dipping into an empty well in hope that water may finally appear.
This one was a big hit for me during teenage years. Rewatched it ten years later and enjoyed it even more. Gallo has an amazing ability to occupy the screen and draw attention, even though if it's just a shot of a road with Jackson C. Frank playing on top.
Vincent Gallo is a strange creature. His work snails along in a ridiculously laid back, quasi-methodical pace, but often really get the chance to say anything. Sometimes it works, and I think he's a genius, Buffalo '66 is hypnotic, but more often than not, it doesn't, and then it's just seems a bit stupid. i.e. The Brown Bunny
Some great cinematographic moments in this film - the slow pace and car window gazing were perfect to deepen the feeling of loneliness and loss that ended in the shocking peak of the ending, completely unexpected and heartbreaking. Loved the detail that all women that captivated him had flower names like Daisy.
Bud erre solitaire, et c'est là la seule beauté de ce porn road movie. Vincent Gallo reste formidable dans son rôle d'homme troublé, dans un film de lui, avec lui, sur lui, pour lui. Ce narcissisme exacerbé nous rend moins enthousiastes, mais que fiche, lui, sa position, il a l'air d'en jouïr, et ce n'est pas Chloé Sevigny qui dira le contraire !
Decepcionante "The brown bunny". El recorrido de un hombre en busca de lo ausente. Vaga intentando reconocer en cualquier mujer aquello que le recuerde a su anterior pareja. Gallo mira con dramatismo. Primerisimos planos, encuadres desajustados, luz natural. Todo esto termina por aburrir. Si bien no hay letargo, hay una percepción clara de monotomía. ¿Qué lo reivindica (aunque no del todo)? : su final.
Words keep failling and the backspace key keeps getting hit. This is just a sweet, tender film. It's so rare to find a work of art that deals with pain, with the past, with relationships, like this. And a film that is able to guide us this way, allowing us to look, follow a man's silence, his journey, to go with him on the road, look into his eyes. And understand his pain. It is so rare that a film allows us to feel.
I love the girl who works in the store in the first scene. Gallo said the role was supposed to be played by Kirsten Dunst, who backed out at the last minute, and he found this non-professional to play the part, who did a great job. Don't know if Gallo is telling the truth, I wouldn't trust the guy, but I agree with him that she did a great job. Exhuming Cheryl Tiegs was an act of genius. And the B.J. billboard ads!
A little pretentious maybe, but the loose storytelling of a wistful man's dreamy journey through boundless landscapes and encounters with women from his memory unable to fill the void succeeds in capturing a mood of longing and despair. A longing that ends up eating its own tail. I much prefer "The Brown Bunny" to its cousin "Broken Flowers" that doesn't reach the same poetic level at all.