The film, while well-made on a technical level, feels more like a collection of moments than a full and satisfying narrative.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
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The first five Sundance entries I've seen are the kinds of film the festival exists to showcase. It is possible that many of them won't ever open in most of the places you readers live, but you've impressed me with your resourcefulness in finding them anyway (and no, I don't mean piracy). You guys demonstrate that if you want to find a movie badly enough, you often can.
One of them, "Homewrecker," is for rent right now via YouTube, in keeping with the festival's Reinvention/Rebirth/Renewal and its embrace of new distribution channels such as the net and regional art cinemas.
That one and "Armless" are playing in the new Sundance section named NEXT, which specializes in movies with "low to no budgets." The guidelines specify budgets below $500,000, and both of these look closer to half a million than to "no."
"Synecdoche, New York" is the best film of the decade. It intends no less than to evoke the strategies we use to live our lives. After beginning my first viewing in confusion, I began to glimpse its purpose and by the end was eager to see it again, then once again, and I am not finished. Charlie Kaufman understands how I live my life, and I suppose his own, and I suspect most of us. Faced with the bewildering demands of time, space, emotion, morality, lust, greed, hope, dreams, dreads and faiths, we build compartments in our minds. It is a way of seeming sane.
The mind is a concern in all his screenplays, but in "Synecdoche" (2008), his first film as a director, he makes it his subject, and what huge ambition that demonstrates. He's like a