|11:30PM||After Party at Fontanas (105 Eldridge St., btwn Grand St. and Broome St.)|
(above New Design High School)
Lower East Side
350 Grand Street, New York, NY 10002
F, J, M, Z to Delancey Street-Essex Street; B, D, Q to Grand Street
Out in the woods, existing relationships start to fray, and the makings of a dangerous love triangle start to come together. Or do they? Takal’s auspicious debut hovers in remarkable ambiguity.
An eerily compelling sexual thriller from writer-director Sophia Takal, Green focuses on a young literary couple who encounter an alluring country bumpkin during their weekend getaway.
Green (Sophia Takal | Brooklyn, NY | 72 min.)
Brooklyn-based director Sophia Takal writes, directs and stars in this mesmerizing debut feature, about a young literary couple from the city whose relationship gets bumpy during a trip to the countryside. Garrulous journalist Sebastian (Lawrence Michael Levine) takes girlfriend Genevieve (Kate Lyn Sheil, star of Joe Swanberg’s Silver Bullets) on a trip to a country house he has rented while working on a story about agriculture. Once there, the duo runs into the enigmatic Robin (Takal), an energetic woman with a sweet southern sensibility. Her surface naivete, however, masks a much more perceptive ability to figure out the tension between the couple, and she quickly befriends both of them--or so it seems. While Sebastien and Genevieve struggle with problems in the bedroom, Genevieve’s imagination runs wild, and she begins to suspect that Sebastien and Robin have fallen for each other.
Levine and Takal previously co-starred in the Brooklyn-set comedy Gabi on the Roof in July, and while Green contains similarly shrewd urban characters, it places them in remarkably different terrain. Gradually drawing out the suspense of this ambiguous love triangle, Takal smartly defies the conventions of American DIY comedies with assured cinematic language that transcends its characters naturalistic exchanges. You’ll find no sloppy camerawork and aimless improvisation here, as Takal maintains a close focus on her story and keeps it boldly open-ended. Images speak louder than words, as virtually all of Green unfolds in magnificent, forest-covered vistas that endow it with a haunting storybook feel.
Takal derives the majority of the movie’s power from the underlying tension between the two women. A nuanced study of the madness that jealousy can inflict on the human mind, Green emphasizes Genevieve’s growing distrust for Robin’s cheery facade. The motives of this alluring stranger from the woods are left intentionally ambiguous, allowing viewers to put the pieces together. The result is supremely memorable tale of paranoia and miscommunication.
Winner of the Chicken & Egg Emergent Narrative Woman Director Award at the South by the Southwest Film Festival.
- Eric Kohn
Men In Love (Keith Davis | Brooklyn, NY | 12 min.)
Following a bitter break-up, Leo's best friend takes him out to meet a new woman and 'get over' his ex. But after a steamy and unexpected encounter with a stranger he's forced to face what most men fear: they don't realize they're in love until it's too late.
Sam Buck Rosen
"Sam Buck Rosen is a New Yorker who simply makes some awesome music. He’s signed to the Secretly Canadian/Dead Oceans/Jagjaguwar imprint called St. Ives, a boutique vinyl (and MP3) only label. Sam’s voice has a great range, with a tremendous amount of flexibility. This is showcased on his new record Dominant Mind, where his voice spastically jumps around. If Dave Longstreth had spent his earlier years mastering various electronic and analog instruments, as opposed to just focusing on guitar, his music would have sounded a bit like Rosen’s. This comes as no surprise, seeing that both Nat Baldwin and Angel Deradoorian of Dirty Projectors have collaborated with Rosen in the past. However accurate or inaccurate this comparison may be, it’s not quite fair to pigeon hole Dominant Mind, because it doesn’t really sound like anything else. It exists in its own world, which is why it’s so fucking cool. The record starts off with “Rich”, one of my favorites on the record. Bleeping synthesizers prepare the listener for Rosen’s voice, which sounds just as much like an instrument as anything else being played. Hand claps keep the pulse as various instruments frantically try to find their place within the track. “Sam BF Rosen” is another favorite of mine, although it’s a bit more structured than “Rich.” A building piano underscores the entire track, accompanied by rolling snare drums and multiple layers of Rosen’s voice. “Sam BF Rosen” features one of the catchiest and most accessible hooks of the record, with Rosen establishing a clear cut melody, as opposed to following wherever his voice wanders off to."
- The Tape is Not Sticky