list http://www.spout.com/ Recent community activity around The Tracey Fragments on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Tracey_Fragments/318715/default.aspx Title: The Tracey Fragments
Year: 2007
Director: Bruce McDonald
Plot: A 15-year-old girl navigates a dangerous urban landscape in search of the brother whom she has hypnotized into believing he is a dog in director Bruce McDonald's pop-infused, 21st century variation on The Catcher in the Rye. When the viewer first meets Tracey (Juno's Ellen Page), she is sitting naked in the back of a bus with only a flimsy shower curtain to guard her from the elements. Tracey is the broken product of an unstable home; her father (Ari Cohen) regards his children as "accidents," and her catatonic mother (Erin McMurtry) only pauses from watching television long enough to light up another cigarette. Upon discovering that a botched hypnosis experiment between Tracey and her younger brother, Sonny, has left the young boy emotionally transformed into a canine, the decision is made to send Tracey to a psychiatrist. Tormented by her classmates and lost in fantasies about her boyfriend and rock & roll savior Billy Zero (Slim Twig), the emotionally complex young woman has become enamored with a new student at school who doesn't even realize she exists. Later, when Sonny disappears, Tracey takes it upon herself to locate her missing sibling and make sure that he finds his way back home. While at first it appears that benevolent rent boy Lance (Maxwell McCabe-Lokos) may be her guiding light through the darkened city streets, Tracey quickly learns that to trust is to place your life in the hands of someone who may sell you out at a moment's notice. Now naked and desperate in the middle of a labyrinthine metropolitan nightmare, Tracey makes it her mission to find Sonny no matter how harrowing her quest may become. ~ Jason Buchanan, All Movie Guide
Times Tagged: 11
Number of Lists: 9
Number of blog posts: 11
SpoutRating: 3
]]>Sun, 15 Feb 2009 23:28:29 GMTThe Tracey Fragments2007Bruce McDonaldA 15-year-old girl navigates a dangerous urban landscape in search of the brother whom she has hypnotized into believing he is a dog in director Bruce McDonald's pop-infused, 21st century variation on The Catcher in the Rye. When the viewer first meets Tracey (<a href="http://www.spout.com/films/288221/detail.aspx" style='text-decoration:underline'>Juno</a>'s <a href="http://www.spout.com/players/P___360080/default.aspx" style='text-decoration:underline'>Ellen Page</a>), she is sitting naked in the back of a bus with only a flimsy shower curtain to guard her from the elements. Tracey is the broken product of an unstable home; her father (Ari Cohen) regards his children as "accidents," and her catatonic mother (Erin McMurtry) only pauses from watching television long enough to light up another cigarette. Upon discovering that a botched hypnosis experiment between Tracey and her younger brother, Sonny, has left the young boy emotionally transformed into a canine, the decision is made to send Tracey to a psychiatrist. Tormented by her classmates and lost in fantasies about her boyfriend and rock & roll savior Billy Zero (Slim Twig), the emotionally complex young woman has become enamored with a new student at school who doesn't even realize she exists. Later, when Sonny disappears, Tracey takes it upon herself to locate her missing sibling and make sure that he finds his way back home. While at first it appears that benevolent rent boy Lance (Maxwell McCabe-Lokos) may be her guiding light through the darkened city streets, Tracey quickly learns that to trust is to place your life in the hands of someone who may sell you out at a moment's notice. Now naked and desperate in the middle of a labyrinthine metropolitan nightmare, Tracey makes it her mission to find Sonny no matter how harrowing her quest may become. ~ Jason Buchanan, All Movie Guide11Tag Target (>10)9113http://www.spout.com/ProductImages/s318715.jpghttp://www.spout.com/films/The_Tracey_Fragments/318715/default.aspxFilm http://www.spout.com/blogs/nerd85/archive/2009/9/21/43967.aspx Post By: nerd85
Post To: nerd85 Blog
Post Date: 9/21/2009 12:13:19 PM
Body: I like Ellen Page a lot. My brother owns a fair amount of her filmography and for good reason...this unfortunately, isn't one of them. I got to the 30 minute mark and I consider 20 minutes a decent test of whether I can invest emotion into a film. A bad practice on my part, but I try to avoid watching something that feels like a chore to finish. I found it hard to invest much of anything into even a single scene of The Tracey Fragements, because it didn't want to let me. Despite the ADHD editing, the characterization (if painfully flat) is set up quickly enough to leave out the guess work. It has to be. And since damning a film for being artistically and conceptually unique is against pretty much everything I stand for, I respect the vision.
]]>Mon, 21 Sep 2009 16:13:19 GMTnerd85nerd85 Blog9/21/2009 12:13:19 PMI like Ellen Page a lot. My brother owns a fair amount of her filmography and for good reason...this unfortunately, isn't one of them. I got to the 30 minute mark and I consider 20 minutes a decent test of whether I can invest emotion into a film. A bad practice on my part, but I try to avoid watching something that feels like a chore to finish. I found it hard to invest much of anything into even a single scene of The Tracey Fragements, because it didn't want to let me. Despite the ADHD editing, the characterization (if painfully flat) is set up quickly enough to leave out the guess work. It has to be. And since damning a film for being artistically and conceptually unique is against pretty much everything I stand for, I respect the vision. http://www.spout.com/blogs/ravie13/archive/2008/10/7/35983.aspx Post By: Ravie13
Post To: Ravie13 Blog
Post Date: 10/7/2008 4:32:26 AM
Body: If you're looking for a point A to point B, straight forward Hollywood-style movie - do NOT rent this movie. But if you're in the mood for something different, I found this movie amazing to watch!! Kudos to the editors. This movie has more in common with something like Timecode than Juno. OK so the acting/dialogue isn't always believable, but it's good. Is there a resolution? I'm not sure but really this movie belongs in a modern art gallery more than in a theater.
]]>Tue, 07 Oct 2008 08:32:26 GMTRavie13Ravie13 Blog10/7/2008 4:32:26 AMIf you're looking for a point A to point B, straight forward Hollywood-style movie - do NOT rent this movie. But if you're in the mood for something different, I found this movie amazing to watch!! Kudos to the editors. This movie has more in common with something like Timecode than Juno. OK so the acting/dialogue isn't always believable, but it's good. Is there a resolution? I'm not sure but really this movie belongs in a modern art gallery more than in a theater. http://www.spout.com/blogs/jj79/archive/2008/7/11/32459.aspx Post By: JJ79
Post To: JJ79 Blog
Post Date: 7/11/2008 11:01:20 PM
Body: Ellen Page received an Oscar nomination for "Juno." While her role as a pregnant teen is the one most people will know her for, it is her turn as Tracey Berkowitz in "The Tracey Fragments" which should be recognized. Yes, her sarcastic, droll, pop-culture happy Juno won the hearts of audiences and critics yet lacked a certain depth; Tracey, on the other hand, is required to run the gamut of emotions as well as keep a fragmented-pardon the pun-film afloat. Tracey Berkowitz has a problem: she has hypnotized her younger brother Sonny into thinking he is a dog. In and of itself, this is a small problem. But when she leaves her house despite being grounded, prompting Sonny to follow her, a series of events is put into motion. The young boy goes missing, Tracey leaves home permanently and has sex with the boy of her dreams, among other sordid situations. Even if the narrative leaves something to be desired, I will give style points-to an extent-to director Bruce McDonald for having the audacity to create a visually provocative film. Aside from the events being out of order, each episode in Tracey´s life is relayed to us as she might remember it: in pieces scattered here, there and everywhere in between. By presenting each element of the story outside of its actual context, McDonald fairly effectively replicates the way in which we remember. Very rarely is it in linear form; rather, it is sporadic, choppy and exaggerated to our own point of view. To that end, nearly every memory scene is played in several different frames on the screen, akin to the style convention on "24" and, to a lesser extent, to Ang Lee´s "Hulk." When one or two frames focus on telling the story, the others center on objects in the room. It allows the action to play out in continuous takes with detail still being presented. By using this technique, McDonald adds to the pastiche feeling of the production. And aside from Page, who portrays an array of emotions in "The Tracey Fragments," there isn´t much else to recommend. By presenting the story out of continuity, it is difficult to get a handle on it until late in the production. Thus, we never develop an affinity for any supporting character or even the ordeal Tracey herself goes through. We only have Page´s performance to ground us in the narrative. We often forget Page is only 21 years old and yet is cast as a teenager, not to mention younger characters. She has a natural affinity for being the odd one out, so to speak. There is no pretension in her performance, only a professionalism and artistic mastery on display. It is because she remains grounded through the entire film the production doesn´t completely run off the rails. Oh, but it tries. The visual style I mentioned a minute ago? Unique, but tired. Fun, but completely overused. Yes, I understand it feeds into the theme of the movie (the fragmentation of memory and how that affects a person). I even applaud McDonald for taking on the added filing and editing burden to make his vision come to fruition. It just happens to be too much from start to finish. Then there´s the story, or what passes as a story here. Based on a novel by Maureen Medved, I would assume the narrative device of vignettes coming together to form a more perfect whole works better on the page. Why? They could be broken down into specific chapters, as opposed to running into one another in film form. There needs to be a clear delineation between the first "fragment" (as each chapter is called here) and the next so we know its time to move on to something different. All we end up getting is a run on scene spanning the length of the movie. There is an added component I haven´t mention yet: the inability of the plot to maintain the truth. Again, I will grant memory is an odd and imperfect thing. It distorts what we remember, exaggerating certain parts and adding a layer of fantasy to each event. However, when a film is dealing with the issue of memories, especially when they are put together out of order, there needs to be an understanding between the product and the audience that what is presented will be honest to what has come before. We can´t have Tracey daydreaming about Billy Zero (Slim Twig) rescuing her and then, by the end of the film, pushing her out of a car. It brings everything else we witness into question, in essence telling us to ask "what is real?" And for a film demanding the audience pay attention to every major and minor character, it´s unfair to throw another layer to decipher on the screen. (It should be noted that the daydream sequences are tinted differently, normally a tip off, if every other scene had been presented without manipulation. They aren´t.) Up until now, I haven´t discussed the specifics of the plot for one good reason: to mention one aspect would mean having to mention a great many more, based on the nature of the story itself. So we´ll speak in broad generalities. There is no attempt at eliciting emotion from the audience on behalf of any of the characters. Unsympathetic brutes (as in the case of Mr. Berkowitz), laughable (Dr. Herker, the shrink), inconsequential (Lance the…who knows what) or superfluous (Billy Zero), there seems to be an intent in the original material to throw in as many types of personalities as possible to cover up the fact we never get to know any of them very well. That, I think, is the crux of the problem. With the personalities on display, an underlying rationale is needed to make them feel human as opposed to mere caricatures. It´s something we don´t get in the finished film. The narrative moves methodically from one memory to another, expecting us to fill in the pieces. But when we know from the very beginning the production is more interested in the style over the substance, we can´t help but mentally check out since no payoff is on the horizon. Indeed, in "The Tracey Fragments," there isn´t any. All we get to is the expected. And that´s terribly…ordinary…for a film trying to be anything but. VIDEO: I have to hand it to the folks over at Image Entertainment. For a movie which made a grand total of $42k in the worldwide box office, the video presentation is quite impressive. Displayed in the original 1.78:1 anamorphic widescreen aspect ratio, the transfer generates an omnipresent feeling of a memory. While the blacks are solid and consistent throughout, other scenes appear washed out and dingy, as if being seen through a filter in the mind. Grain is present, as I´m guessing it was originally. Without the director or other production personnel chiming in on a commentary track, knowing what possible imperfections in the video output are intentional and which aren´t is extremely hard, especially considering the look they were most likely going for. AUDIO: No surprises here, with two different English audio tracks here: 5.1 and 2.0. In an odd twist, the 5.1 version sounds louder than the 2.0 flavor (usually it is the reverse). Both remain clear and free of defects. Dialogue isn´t overpowered by ambient sound or the score. Although neither option is a stand out in any way, they are serviceable enough. The 5.1 edition doesn´t take advantage of its extra speakers, sadly. A small audio effect here or there wouldn´t have materially helped the film; it would have only added a bit of extra oomph to the tech specs. EXTRAS: Now here´s where the disappointment comes in. With a star like Ellen Page, I would have expected some meaty bonus features. Instead, what we´re given is a paltry seven minute "making of" featuring short interviews interspersed with film clips. All the participants are overjoyed at the finished product, especially McDonald, who touts the modular look of the film. (Shooting lasted two weeks; editing took 5 or 6 months.) Then there are winning and runner-up entries into the "Tracey: ReFragmented" contest. Five different people went on line, remixed various clips provided by McDonald and were submitted back to the director. He picked one winner and four runners-up. A rather pointless and boring affair, most likely included to fill out the extras package. "The Single Frame" is nothing more than an excruciatingly long 5:14 photo gallery featuring the work of Matt O´Sullivan. Each image is preceded by a caption explaining what we´re about to see. They are automatically advancing. Two trailers begin the disc ("Autumn Hearts" and "6 Reasons Why") while this film´s trailer is also included. PARTING THOUGHTS: Some movies will not let you like them. The culprit can be an unsympathetic protagonist, a flimsy plot or an over reliance on a filmmaking technique. Such is the case with "The Tracey Fragments." A germ of an idea is tucked away in the production, yet both screenwriter (and original author) Medved and director McDonald can´t seem to get at it with any regularity. Certainly telling the story out of sequence doesn´t help; neither does the preponderance of frames within each shot. It´s all style over substance. The only saving grace is Page, though even her talent isn´t enough to save a forgettable endeavor.
]]>Sat, 12 Jul 2008 03:01:20 GMTJJ79JJ79 Blog7/11/2008 11:01:20 PMEllen Page received an Oscar nomination for "Juno." While her role as a pregnant teen is the one most people will know her for, it is her turn as Tracey Berkowitz in "The Tracey Fragments" which should be recognized. Yes, her sarcastic, droll, pop-culture happy Juno won the hearts of audiences and critics yet lacked a certain depth; Tracey, on the other hand, is required to run the gamut of emotions as well as keep a fragmented-pardon the pun-film afloat. Tracey Berkowitz has a problem: she has hypnotized her younger brother Sonny into thinking he is a dog. In and of itself, this is a small problem. But when she leaves her house despite being grounded, prompting Sonny to follow her, a series of events is put into motion. The young boy goes missing, Tracey leaves home permanently and has sex with the boy of her dreams, among other sordid situations. Even if the narrative leaves something to be desired, I will give style points-to an extent-to director Bruce McDonald for having the audacity to create a visually provocative film. Aside from the events being out of order, each episode in Tracey&acute;s life is relayed to us as she might remember it: in pieces scattered here, there and everywhere in between. By presenting each element of the story outside of its actual context, McDonald fairly effectively replicates the way in which we remember. Very rarely is it in linear form; rather, it is sporadic, choppy and exaggerated to our own point of view. To that end, nearly every memory scene is played in several different frames on the screen, akin to the style convention on "24" and, to a lesser extent, to Ang Lee&acute;s "Hulk." When one or two frames focus on telling the story, the others center on objects in the room. It allows the action to play out in continuous takes with detail still being presented. By using this technique, McDonald adds to the pastiche feeling of the production. And aside from Page, who portrays an array of emotions in "The Tracey Fragments," there isn&acute;t much else to recommend. By presenting the story out of continuity, it is difficult to get a handle on it until late in the production. Thus, we never develop an affinity for any supporting character or even the ordeal Tracey herself goes through. We only have Page&acute;s performance to ground us in the narrative. We often forget Page is only 21 years old and yet is cast as a teenager, not to mention younger characters. She has a natural affinity for being the odd one out, so to speak. There is no pretension in her performance, only a professionalism and artistic mastery on display. It is because she remains grounded through the entire film the production doesn&acute;t completely run off the rails. Oh, but it tries. The visual style I mentioned a minute ago? Unique, but tired. Fun, but completely overused. Yes, I understand it feeds into the theme of the movie (the fragmentation of memory and how that affects a person). I even applaud McDonald for taking on the added filing and editing burden to make his vision come to fruition. It just happens to be too much from start to finish. Then there&acute;s the story, or what passes as a story here. Based on a novel by Maureen Medved, I would assume the narrative device of vignettes coming together to form a more perfect whole works better on the page. Why? They could be broken down into specific chapters, as opposed to running into one another in film form. There needs to be a clear delineation between the first "fragment" (as each chapter is called here) and the next so we know its time to move on to something different. All we end up getting is a run on scene spanning the length of the movie. There is an added component I haven&acute;t mention yet: the inability of the plot to maintain the truth. Again, I will grant memory is an odd and imperfect thing. It distorts what we remember, exaggerating certain parts and adding a layer of fantasy to each event. However, when a film is dealing with the issue of memories, especially when they are put together out of order, there needs to be an understanding between the product and the audience that what is presented will be honest to what has come before. We can&acute;t have Tracey daydreaming about Billy Zero (Slim Twig) rescuing her and then, by the end of the film, pushing her out of a car. It brings everything else we witness into question, in essence telling us to ask "what is real?" And for a film demanding the audience pay attention to every major and minor character, it&acute;s unfair to throw another layer to decipher on the screen. (It should be noted that the daydream sequences are tinted differently, normally a tip off, if every other scene had been presented without manipulation. They aren&acute;t.) Up until now, I haven&acute;t discussed the specifics of the plot for one good reason: to mention one aspect would mean having to mention a great many more, based on the nature of the story itself. So we&acute;ll speak in broad generalities. There is no attempt at eliciting emotion from the audience on behalf of any of the characters. Unsympathetic brutes (as in the case of Mr. Berkowitz), laughable (Dr. Herker, the shrink), inconsequential (Lance the&hellip;who knows what) or superfluous (Billy Zero), there seems to be an intent in the original material to throw in as many types of personalities as possible to cover up the fact we never get to know any of them very well. That, I think, is the crux of the problem. With the personalities on display, an underlying rationale is needed to make them feel human as opposed to mere caricatures. It&acute;s something we don&acute;t get in the finished film. The narrative moves methodically from one memory to another, expecting us to fill in the pieces. But when we know from the very beginning the production is more interested in the style over the substance, we can&acute;t help but mentally check out since no payoff is on the horizon. Indeed, in "The Tracey Fragments," there isn&acute;t any. All we get to is the expected. And that&acute;s terribly&hellip;ordinary&hellip;for a film trying to be anything but. VIDEO: I have to hand it to the folks over at Image Entertainment. For a movie which made a grand total of $42k in the worldwide box office, the video presentation is quite impressive. Displayed in the original 1.78:1 anamorphic widescreen aspect ratio, the transfer generates an omnipresent feeling of a memory. While the blacks are solid and consistent throughout, other scenes appear washed out and dingy, as if being seen through a filter in the mind. Grain is present, as I&acute;m guessing it was originally. Without the director or other production personnel chiming in on a commentary track, knowing what possible imperfections in the video output are intentional and which aren&acute;t is extremely hard, especially considering the look they were most likely going for. AUDIO: No surprises here, with two different English audio tracks here: 5.1 and 2.0. In an odd twist, the 5.1 version sounds louder than the 2.0 flavor (usually it is the reverse). Both remain clear and free of defects. Dialogue isn&acute;t overpowered by ambient sound or the score. Although neither option is a stand out in any way, they are serviceable enough. The 5.1 edition doesn&acute;t take advantage of its extra speakers, sadly. A small audio effect here or there wouldn&acute;t have materially helped the film; it would have only added a bit of extra oomph to the tech specs. EXTRAS: Now here&acute;s where the disappointment comes in. With a star like Ellen Page, I would have expected some meaty bonus features. Instead, what we&acute;re given is a paltry seven minute "making of" featuring short interviews interspersed with film clips. All the participants are overjoyed at the finished product, especially McDonald, who touts the modular look of the film. (Shooting lasted two weeks; editing took 5 or 6 months.) Then there are winning and runner-up entries into the "Tracey: ReFragmented" contest. Five different people went on line, remixed various clips provided by McDonald and were submitted back to the director. He picked one winner and four runners-up. A rather pointless and boring affair, most likely included to fill out the extras package. "The Single Frame" is nothing more than an excruciatingly long 5:14 photo gallery featuring the work of Matt O&acute;Sullivan. Each image is preceded by a caption explaining what we&acute;re about to see. They are automatically advancing. Two trailers begin the disc ("Autumn Hearts" and "6 Reasons Why") while this film&acute;s trailer is also included. PARTING THOUGHTS: Some movies will not let you like them. The culprit can be an unsympathetic protagonist, a flimsy plot or an over reliance on a filmmaking technique. Such is the case with "The Tracey Fragments." A germ of an idea is tucked away in the production, yet both screenwriter (and original author) Medved and director McDonald can&acute;t seem to get at it with any regularity. Certainly telling the story out of sequence doesn&acute;t help; neither does the preponderance of frames within each shot. It&acute;s all style over substance. The only saving grace is Page, though even her talent isn&acute;t enough to save a forgettable endeavor. http://www.spout.com/blogs/karina/archive/2008/5/7/28314.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 5/7/2008 4:01:25 PM
Body: I’ve been tracking the odd pop cultural situation that awaits this month’s release of The Tracey Fragments for awhile now. The film, which I’ve written about before, stars Juno phenom Ellen Page; it premiered at Berlin in 2007 and played tons of festivals, but by year’s end had failed to secure U.S. theatrical distribution. Then, in February of this year, when Page was at the peak of her powers as a precocious Oscar nominee and face of one of the biggest “surprise” hits in recent memory, Tracey was picked up by ThinkFilm for domestic distribution. This is a film which, despite positive reviews and an award from Berlin, went almost completely unnoticed when it screened at Toronto in September, largely because it didn’t have a distributor that could afford to hire track suited boys to pass out branded Tic Tacs on its behalf. And yet, as soon as ThinkFilm put out a new trailer for the film, it promptly attracted a bunch of negative blog attention, ranging from unfair to inaccurate. There seems to be a common, incorrect assumption that Tracey was built in a lab to capitalize on Page’s presumed post-Juno hipster cred; about a month ago, Gawker branded Tracey “the trendiest, most mind-suckingly irritating movie ever to exist”––sight unseen, of course. But yesterday, Stu VanAirsdale at Gawker’s sister blog Defamer suggested that Tracey’s problem is its lack of trendiness, indicating that the film is being quietly “dumped” by its distributor. Someone who didn’t know the history of The Tracey Fragments could read Stu’s post and assume that the film is a loser because it’s getting a (much) smaller release than Juno on a (much, much, MUCH) smaller marketing budget. But the fact is, it’s only getting a North American theatrical release at all because of Juno, and that’s not necessarily a sign of its quality, but a reflection of the fact that there’s no such thing as a North American distribution market for experimental film. There’s a difference between a film being “dumped”, and a non-commercial, non-studio film getting a chance at theatrical life because its star happens to be more famous now than she was 15 months ago when it first appeared on the festival circuit. ThinkFilm is not known for the huge media buys and coy platformed wide releases that the indie arms specialize in, and as far as I can tell, their handling of Tracey is pretty much business as usual. All of this chatter points to the fact that Page’s involvement is a double-eged sword. Yes, her newfound fame has made Tracey a more viable commodity than it would have been otherwise, but it also attracts a brighter spotlight than a little Canadian art film can be expected to withstand gracefully. I just imagine Guy Maddin must wake up every morning and thank God that no one in My Winnipeg has become the subject of lesbian rumors on gossip blogs. (Actually, never mind––Guy Maddin would probably love that). Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 07 May 2008 20:01:25 GMTKarinaKarina on SpoutBlog5/7/2008 4:01:25 PMI’ve been tracking the odd pop cultural situation that awaits this month’s release of The Tracey Fragments for awhile now. The film, which I’ve written about before, stars Juno phenom Ellen Page; it premiered at Berlin in 2007 and played tons of festivals, but by year’s end had failed to secure U.S. theatrical distribution. Then, in February of this year, when Page was at the peak of her powers as a precocious Oscar nominee and face of one of the biggest “surprise” hits in recent memory, Tracey was picked up by ThinkFilm for domestic distribution. This is a film which, despite positive reviews and an award from Berlin, went almost completely unnoticed when it screened at Toronto in September, largely because it didn’t have a distributor that could afford to hire track suited boys to pass out branded Tic Tacs on its behalf. And yet, as soon as ThinkFilm put out a new trailer for the film, it promptly attracted a bunch of negative blog attention, ranging from unfair to inaccurate. There seems to be a common, incorrect assumption that Tracey was built in a lab to capitalize on Page’s presumed post-Juno hipster cred; about a month ago, Gawker branded Tracey “the trendiest, most mind-suckingly irritating movie ever to exist”––sight unseen, of course. But yesterday, Stu VanAirsdale at Gawker’s sister blog Defamer suggested that Tracey’s problem is its lack of trendiness, indicating that the film is being quietly “dumped” by its distributor. Someone who didn’t know the history of The Tracey Fragments could read Stu’s post and assume that the film is a loser because it’s getting a (much) smaller release than Juno on a (much, much, MUCH) smaller marketing budget. But the fact is, it’s only getting a North American theatrical release at all because of Juno, and that’s not necessarily a sign of its quality, but a reflection of the fact that there’s no such thing as a North American distribution market for experimental film. There’s a difference between a film being “dumped”, and a non-commercial, non-studio film getting a chance at theatrical life because its star happens to be more famous now than she was 15 months ago when it first appeared on the festival circuit. ThinkFilm is not known for the huge media buys and coy platformed wide releases that the indie arms specialize in, and as far as I can tell, their handling of Tracey is pretty much business as usual. All of this chatter points to the fact that Page’s involvement is a double-eged sword. Yes, her newfound fame has made Tracey a more viable commodity than it would have been otherwise, but it also attracts a brighter spotlight than a little Canadian art film can be expected to withstand gracefully. I just imagine Guy Maddin must wake up every morning and thank God that no one in My Winnipeg has become the subject of lesbian rumors on gossip blogs. (Actually, never mind––Guy Maddin would probably love that). Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/5/7/28312.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/7/2008 4:01:13 PM
Body: I’ve been tracking the odd pop cultural situation that awaits this month’s release of The Tracey Fragments for awhile now. The film, which I’ve written about before, stars Juno phenom Ellen Page; it premiered at Berlin in 2007 and played tons of festivals, but by year’s end had failed to secure U.S. theatrical distribution. Then, in February of this year, when Page was at the peak of her powers as a precocious Oscar nominee and face of one of the biggest “surprise” hits in recent memory, Tracey was picked up by ThinkFilm for domestic distribution. This is a film which, despite positive reviews and an award from Berlin, went almost completely unnoticed when it screened at Toronto in September, largely because it didn’t have a distributor that could afford to hire track suited boys to pass out branded Tic Tacs on its behalf. And yet, as soon as ThinkFilm put out a new trailer for the film, it promptly attracted a bunch of negative blog attention, ranging from unfair to inaccurate. There seems to be a common, incorrect assumption that Tracey was built in a lab to capitalize on Page’s presumed post-Juno hipster cred; about a month ago, Gawker branded Tracey “the trendiest, most mind-suckingly irritating movie ever to exist”––sight unseen, of course. But yesterday, Stu VanAirsdale at Gawker’s sister blog Defamer suggested that Tracey’s problem is its lack of trendiness, indicating that the film is being quietly “dumped” by its distributor. Someone who didn’t know the history of The Tracey Fragments could read Stu’s post and assume that the film is a loser because it’s getting a (much) smaller release than Juno on a (much, much, MUCH) smaller marketing budget. But the fact is, it’s only getting a North American theatrical release at all because of Juno, and that’s not necessarily a sign of its quality, but a reflection of the fact that there’s no such thing as a North American distribution market for experimental film. There’s a difference between a film being “dumped”, and a non-commercial, non-studio film getting a chance at theatrical life because its star happens to be more famous now than she was 15 months ago when it first appeared on the festival circuit. ThinkFilm is not known for the huge media buys and coy platformed wide releases that the indie arms specialize in, and as far as I can tell, their handling of Tracey is pretty much business as usual. All of this chatter points to the fact that Page’s involvement is a double-eged sword. Yes, her newfound fame has made Tracey a more viable commodity than it would have been otherwise, but it also attracts a brighter spotlight than a little Canadian art film can be expected to withstand gracefully. I just imagine Guy Maddin must wake up every morning and thank God that no one in My Winnipeg has become the subject of lesbian rumors on gossip blogs. (Actually, never mind––Guy Maddin would probably love that). Originally posted on:SpoutBlog
]]>Wed, 07 May 2008 20:01:13 GMTSpoutBlogSpoutBlog on spout.com5/7/2008 4:01:13 PMI’ve been tracking the odd pop cultural situation that awaits this month’s release of The Tracey Fragments for awhile now. The film, which I’ve written about before, stars Juno phenom Ellen Page; it premiered at Berlin in 2007 and played tons of festivals, but by year’s end had failed to secure U.S. theatrical distribution. Then, in February of this year, when Page was at the peak of her powers as a precocious Oscar nominee and face of one of the biggest “surprise” hits in recent memory, Tracey was picked up by ThinkFilm for domestic distribution. This is a film which, despite positive reviews and an award from Berlin, went almost completely unnoticed when it screened at Toronto in September, largely because it didn’t have a distributor that could afford to hire track suited boys to pass out branded Tic Tacs on its behalf. And yet, as soon as ThinkFilm put out a new trailer for the film, it promptly attracted a bunch of negative blog attention, ranging from unfair to inaccurate. There seems to be a common, incorrect assumption that Tracey was built in a lab to capitalize on Page’s presumed post-Juno hipster cred; about a month ago, Gawker branded Tracey “the trendiest, most mind-suckingly irritating movie ever to exist”––sight unseen, of course. But yesterday, Stu VanAirsdale at Gawker’s sister blog Defamer suggested that Tracey’s problem is its lack of trendiness, indicating that the film is being quietly “dumped” by its distributor. Someone who didn’t know the history of The Tracey Fragments could read Stu’s post and assume that the film is a loser because it’s getting a (much) smaller release than Juno on a (much, much, MUCH) smaller marketing budget. But the fact is, it’s only getting a North American theatrical release at all because of Juno, and that’s not necessarily a sign of its quality, but a reflection of the fact that there’s no such thing as a North American distribution market for experimental film. There’s a difference between a film being “dumped”, and a non-commercial, non-studio film getting a chance at theatrical life because its star happens to be more famous now than she was 15 months ago when it first appeared on the festival circuit. ThinkFilm is not known for the huge media buys and coy platformed wide releases that the indie arms specialize in, and as far as I can tell, their handling of Tracey is pretty much business as usual. All of this chatter points to the fact that Page’s involvement is a double-eged sword. Yes, her newfound fame has made Tracey a more viable commodity than it would have been otherwise, but it also attracts a brighter spotlight than a little Canadian art film can be expected to withstand gracefully. I just imagine Guy Maddin must wake up every morning and thank God that no one in My Winnipeg has become the subject of lesbian rumors on gossip blogs. (Actually, never mind––Guy Maddin would probably love that). Originally posted on:SpoutBlog http://www.spout.com/blogs/shaunhuston/archive/2008/4/27/27882.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 4/27/2008 5:00:46 PM
Body: The Tracey Fragments is a movie that plays with your mind, but not for common, plot-driven reasons. Rather, director Bruce McDonald, writer Maureen Medved, and editors Gareth Scales and Jeremy Munce, blur the lines between forms of reality – interior/exterior, perceived/objective – not to misdirect or form a puzzle, but to pull the audience into the world of the film's teen protagonist, Tracey Berkowitz (Ellen Page).I have no doubt that others in the overstuffed Salem Cinema auditorium last weekend would have a different a take on the film, that there is a thread of external/objective reality running through the narrative. And maybe there is. However, I don't think that the filmmakers provide any grounds upon which to establish which images are meant to signify, for certain, some bedrock reality and which represent Tracey's subjective experience of the world. The Tracey Fragments visualizes its title by showing its (non-linear) narrative in split screen and “picture-in-picture” images. Sometimes the audience is shown the same scene from different angles, both simultaneously and synchronically, and sometimes the audience is provided with images from different scenes (childhood memories alongside present-day action, for example). Perhaps most interestingly are the singular, but split, images, that is, different parts of the screen are given their own frame, but within each frame is some piece of the same shot, rather than a distinct view. There are images which are clearly plucked from Tracey's memories or fantasy life. There are also those that seem like composites of her exterior and interior realities. Her therapy visits to Dr. Heker (Julian Richings) are cases in point. Taken separately, one could write off Heker's apparent cross-dressing (male dressing as female) or pure white office, as quirky affectations in a film already populated with interesting and odd people, but together they create a mise-en-scène too surreal to be taken as objective. At the same time, it seems highly likely that Tracey is, in fact, in therapy. While no single image seems grounded in certainty, that something bad happened to Tracey's younger brother, Sonny (Zie Souwand), and she feels culpable somehow, are clearly and consistently shown to be the sparks for the journey/ordeal she undergoes. One scene in particular makes me doubt the “reality” of anything the audience sees. We see Tracey in a medium long shot, after having apparently run away from home, moving to a phone booth. In close-up, she dials. The screen splits and we see her mom (Erin McMurtry) answer the phone. She listens, but doesn't speak as Tracey says, “Mom? Mom?” The images go from split screen to p.i.p, one and then the other assuming the position of the dominant view. They hang up. Tracey loses it. The scene seems mundane and real enough, but the shots of her mother are the only ones in the whole film where Tracey is absent (to truly confirm this, I would have to see the movie again, but I think I am correct in asserting that Tracey is present, in one way or another, in every other shot). This leads me to think that the conversation, however objective it appears to be, is, in some part, imagined by Tracey. Maybe she made the phone call, and maybe she didn't. Maybe she dialed home and dad (Ari Cohen) actually answered. Maybe she blocked out whoever answered the phone. Maybe no one answered. Maybe she dialed up the time. The world of the film, that is, Tracey's world, is slippery and polysemic, meaning that there is always more than one possible meaning or interpretation to any shot. While this is, at some level, true of all films, in The Tracey Fragments the multiplicity of possible meanings, rather than cultivation of preferred meanings, is consistently foregrounded. There are brief moments where the screen holds a single, undivided shot. Maybe these are objective, exterior reality, or moments of clarity for Tracey, but I think that that singularity is too easy to grab onto. In the context of the film, I can only see them as additional fragments. Perhaps larger and more occupying than others, but still just fragments. A piece of some lived/perceived reality, but not the undivided whole. The Tracey Fragments will likely leave some feeling thankful that they are not screwed up like Page's heroine, that they, unlike her, have a firm grasp on the world. Others, myself included, will leave thinking how close our own experiences of the world are to Tracey's, particularly as visualized by McDonald and Company. Tracey's feelings of fragmentation, of being split into multiple selves and living in different realities, may be more intense and debilitating than it is for most, but how many of us truly live lives where perception, thought, and external reality are in perfect alignment? Not many, and, compared to Tracey, we are, perhaps, simply better at maintaining the illusion of coherence than we are truly free of our own splitscreens and pictures-in-pictures. Originally posted on:Short-Circuit Signs
]]>Sun, 27 Apr 2008 21:00:46 GMTShaunHustonShaunHuston filmblog4/27/2008 5:00:46 PMThe Tracey Fragments is a movie that plays with your mind, but not for common, plot-driven reasons. Rather, director Bruce McDonald, writer Maureen Medved, and editors Gareth Scales and Jeremy Munce, blur the lines between forms of reality – interior/exterior, perceived/objective – not to misdirect or form a puzzle, but to pull the audience into the world of the film's teen protagonist, Tracey Berkowitz (Ellen Page).I have no doubt that others in the overstuffed Salem Cinema auditorium last weekend would have a different a take on the film, that there is a thread of external/objective reality running through the narrative. And maybe there is. However, I don't think that the filmmakers provide any grounds upon which to establish which images are meant to signify, for certain, some bedrock reality and which represent Tracey's subjective experience of the world. The Tracey Fragments visualizes its title by showing its (non-linear) narrative in split screen and “picture-in-picture” images. Sometimes the audience is shown the same scene from different angles, both simultaneously and synchronically, and sometimes the audience is provided with images from different scenes (childhood memories alongside present-day action, for example). Perhaps most interestingly are the singular, but split, images, that is, different parts of the screen are given their own frame, but within each frame is some piece of the same shot, rather than a distinct view. There are images which are clearly plucked from Tracey's memories or fantasy life. There are also those that seem like composites of her exterior and interior realities. Her therapy visits to Dr. Heker (Julian Richings) are cases in point. Taken separately, one could write off Heker's apparent cross-dressing (male dressing as female) or pure white office, as quirky affectations in a film already populated with interesting and odd people, but together they create a mise-en-scène too surreal to be taken as objective. At the same time, it seems highly likely that Tracey is, in fact, in therapy. While no single image seems grounded in certainty, that something bad happened to Tracey's younger brother, Sonny (Zie Souwand), and she feels culpable somehow, are clearly and consistently shown to be the sparks for the journey/ordeal she undergoes. One scene in particular makes me doubt the “reality” of anything the audience sees. We see Tracey in a medium long shot, after having apparently run away from home, moving to a phone booth. In close-up, she dials. The screen splits and we see her mom (Erin McMurtry) answer the phone. She listens, but doesn't speak as Tracey says, “Mom? Mom?” The images go from split screen to p.i.p, one and then the other assuming the position of the dominant view. They hang up. Tracey loses it. The scene seems mundane and real enough, but the shots of her mother are the only ones in the whole film where Tracey is absent (to truly confirm this, I would have to see the movie again, but I think I am correct in asserting that Tracey is present, in one way or another, in every other shot). This leads me to think that the conversation, however objective it appears to be, is, in some part, imagined by Tracey. Maybe she made the phone call, and maybe she didn't. Maybe she dialed home and dad (Ari Cohen) actually answered. Maybe she blocked out whoever answered the phone. Maybe no one answered. Maybe she dialed up the time. The world of the film, that is, Tracey's world, is slippery and polysemic, meaning that there is always more than one possible meaning or interpretation to any shot. While this is, at some level, true of all films, in The Tracey Fragments the multiplicity of possible meanings, rather than cultivation of preferred meanings, is consistently foregrounded. There are brief moments where the screen holds a single, undivided shot. Maybe these are objective, exterior reality, or moments of clarity for Tracey, but I think that that singularity is too easy to grab onto. In the context of the film, I can only see them as additional fragments. Perhaps larger and more occupying than others, but still just fragments. A piece of some lived/perceived reality, but not the undivided whole. The Tracey Fragments will likely leave some feeling thankful that they are not screwed up like Page's heroine, that they, unlike her, have a firm grasp on the world. Others, myself included, will leave thinking how close our own experiences of the world are to Tracey's, particularly as visualized by McDonald and Company. Tracey's feelings of fragmentation, of being split into multiple selves and living in different realities, may be more intense and debilitating than it is for most, but how many of us truly live lives where perception, thought, and external reality are in perfect alignment? Not many, and, compared to Tracey, we are, perhaps, simply better at maintaining the illusion of coherence than we are truly free of our own splitscreens and pictures-in-pictures. Originally posted on:Short-Circuit Signs http://www.spout.com/blogs/shaunhuston/archive/2008/4/22/27614.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 4/22/2008 12:01:22 AM
Body: Anne-Marie and I had Saturday passes to the Salem Film Festival. I was motivated to buy the passes so we would be sure to see The Tracey Fragments, the latest from director Bruce MacDonald (Roadkill, Hard Core Logo), and starring Ellen Page. It was a full house and a truly interesting film. As much as Canadians may mourn the lack of commercial traction for their indigenous films, especially English-Canadian film, The Tracey Fragments demonstrates why the world is better when artists feel free to experiment. A full review by next weekend. I promise. Originally posted on:Short-Circuit Signs
]]>Tue, 22 Apr 2008 04:01:22 GMTShaunHustonShaunHuston filmblog4/22/2008 12:01:22 AMAnne-Marie and I had Saturday passes to the Salem Film Festival. I was motivated to buy the passes so we would be sure to see The Tracey Fragments, the latest from director Bruce MacDonald (Roadkill, Hard Core Logo), and starring Ellen Page. It was a full house and a truly interesting film. As much as Canadians may mourn the lack of commercial traction for their indigenous films, especially English-Canadian film, The Tracey Fragments demonstrates why the world is better when artists feel free to experiment. A full review by next weekend. I promise. Originally posted on:Short-Circuit Signs http://www.spout.com/blogs/karina/archive/2008/2/20/25364.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/20/2008 9:01:27 AM
Body: Oscar producers are worried that the alleged inaccessibility of this year’s major nominees will have a negative impact on the telecast’s ratings. But how could that be, when the Best Picture nominees are so full of memorable catchprases? “I drink your milkshake!” “Homeskillet doodle blog!” “I am putting my scruples aside in order to blackmail you in the name of the greater good,” or whatever George Clooney says at the end of Michael Clayton! Speaking of bad means and good ends, the Juno phenomena is spilling over to benefit an actual indie film. Bruce McDonald’s The Tracey Fragments, which played the Berlin, Toronto and Denver film festivals last year, and which stars Ellen Page, has secured U.S. theatrical distribution via ThinkFilm. Page’s current hotness notwithstanding, the pick-up is something of a surprise, considering that it’s coming three months after McDonald posted raw footage of the film online as part of a contest for its DVD release. Owen Wilson will start shooting his first film since his recent breakdown on March 10. Marley and Me, co-starring Jennifer Aniston, is an apparent science fiction film set in an alternate universe in which 40 year-old women can procreate on demand, but chose to purchase dogs instead. Originally posted on:SpoutBlog » karina
]]>Wed, 20 Feb 2008 14:01:27 GMTKarinaKarina on SpoutBlog2/20/2008 9:01:27 AM Oscar producers are worried that the alleged inaccessibility of this year’s major nominees will have a negative impact on the telecast’s ratings. But how could that be, when the Best Picture nominees are so full of memorable catchprases? “I drink your milkshake!” “Homeskillet doodle blog!” “I am putting my scruples aside in order to blackmail you in the name of the greater good,” or whatever George Clooney says at the end of Michael Clayton! Speaking of bad means and good ends, the Juno phenomena is spilling over to benefit an actual indie film. Bruce McDonald’s The Tracey Fragments, which played the Berlin, Toronto and Denver film festivals last year, and which stars Ellen Page, has secured U.S. theatrical distribution via ThinkFilm. Page’s current hotness notwithstanding, the pick-up is something of a surprise, considering that it’s coming three months after McDonald posted raw footage of the film online as part of a contest for its DVD release. Owen Wilson will start shooting his first film since his recent breakdown on March 10. Marley and Me, co-starring Jennifer Aniston, is an apparent science fiction film set in an alternate universe in which 40 year-old women can procreate on demand, but chose to purchase dogs instead. Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/2/20/25363.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/20/2008 9:01:14 AM
Body: Oscar producers are worried that the alleged inaccessibility of this year’s major nominees will have a negative impact on the telecast’s ratings. But how could that be, when the Best Picture nominees are so full of memorable catchprases? “I drink your milkshake!” “Homeskillet doodle blog!” “I am putting my scruples aside in order to blackmail you in the name of the greater good,” or whatever George Clooney says at the end of Michael Clayton! Speaking of bad means and good ends, the Juno phenomena is spilling over to benefit an actual indie film. Bruce McDonald’s The Tracey Fragments, which played the Berlin, Toronto and Denver film festivals last year, and which stars Ellen Page, has secured U.S. theatrical distribution via ThinkFilm. Page’s current hotness notwithstanding, the pick-up is something of a surprise, considering that it’s coming three months after McDonald posted raw footage of the film online as part of a contest for its DVD release. Owen Wilson will start shooting his first film since his recent breakdown on March 10. Marley and Me, co-starring Jennifer Aniston, is an apparent science fiction film set in an alternate universe in which 40 year-old women can procreate on demand, but chose to purchase dogs instead. Originally posted on:SpoutBlog
]]>Wed, 20 Feb 2008 14:01:14 GMTSpoutBlogSpoutBlog on spout.com2/20/2008 9:01:14 AM Oscar producers are worried that the alleged inaccessibility of this year’s major nominees will have a negative impact on the telecast’s ratings. But how could that be, when the Best Picture nominees are so full of memorable catchprases? “I drink your milkshake!” “Homeskillet doodle blog!” “I am putting my scruples aside in order to blackmail you in the name of the greater good,” or whatever George Clooney says at the end of Michael Clayton! Speaking of bad means and good ends, the Juno phenomena is spilling over to benefit an actual indie film. Bruce McDonald’s The Tracey Fragments, which played the Berlin, Toronto and Denver film festivals last year, and which stars Ellen Page, has secured U.S. theatrical distribution via ThinkFilm. Page’s current hotness notwithstanding, the pick-up is something of a surprise, considering that it’s coming three months after McDonald posted raw footage of the film online as part of a contest for its DVD release. Owen Wilson will start shooting his first film since his recent breakdown on March 10. Marley and Me, co-starring Jennifer Aniston, is an apparent science fiction film set in an alternate universe in which 40 year-old women can procreate on demand, but chose to purchase dogs instead. Originally posted on:SpoutBlog http://www.spout.com/blogs/demndiary/archive/2007/11/12/21625.aspx Post By: Demndiary
Post To: Demndiary Blog
Post Date: 11/12/2007 12:39:36 PM
Body: Ellen Page is Tracey Berkowitz, an outcast in her school, family and life who ends up on the streets of Ontario in this surreal drama. Bruce McDonald's The Tracey Fragments is based upon Maureen Medved's book. The film is linear and dreamlike as the screen is filled with multiple images reflecting Tracey's thinking. The film is astoudingly compelling. The speed is quick and gives broad and repetitive views of the same events as Tracey explains her reality. In her mind Billy Zero (Slim Twig), the hot new guy at school, loves her. He didn't rape her. Tracey's family is a horror story of a father (Ari Cohen) who doesn't listen to her, and a mother (Erin McMurty) who is disconnected to reality. Sonny, Tracey's younger brother, is her only ray of hope even though she hypnotized him to believe that he is dog. Sonny has gone missing, and Tracey is looking for him. Tracey Berkowitz is one of Ellen Page's edgiest characters. She is liked by no one. She narrates her story as a child who is years older. The langauge has beautiful metaphor and similie expressed profoundly. Page is strecthed from the street scenes of Ontario to the bleak family scenes. It is impossible to explain The Tracey Fragments. It is a film that is disturbing and hard to forget. It is worth multiple viewings. It should appeal to any fan of Charles Kaufman and David Lynch.
]]>Mon, 12 Nov 2007 17:39:36 GMTDemndiaryDemndiary Blog11/12/2007 12:39:36 PMEllen Page is Tracey Berkowitz, an outcast in her school, family and life who ends up on the streets of Ontario in this surreal drama. Bruce McDonald&#39;s The Tracey Fragments is based upon Maureen Medved&#39;s book. The film is linear and dreamlike as the screen is filled with multiple images reflecting Tracey&#39;s thinking. The film is astoudingly compelling. The speed is quick and gives broad and repetitive views of the same events as Tracey explains her reality. In her mind Billy Zero (Slim Twig), the hot new guy at school, loves her. He didn&#39;t rape her. Tracey&#39;s family is a horror story of a father (Ari Cohen) who doesn&#39;t listen to her, and a mother (Erin McMurty) who is disconnected to reality. Sonny, Tracey&#39;s younger brother, is her only ray of hope even though she hypnotized him to believe that he is dog. Sonny has gone missing, and Tracey is looking for him. Tracey Berkowitz is one of Ellen Page&#39;s edgiest characters. She is liked by no one. She narrates her story as a child who is years older. The langauge has beautiful metaphor and similie expressed profoundly. Page is strecthed from the street scenes of Ontario to the bleak family scenes. It is impossible to explain The Tracey Fragments. It is a film that is disturbing and hard to forget. It is worth multiple viewings. It should appeal to any fan of Charles Kaufman and David Lynch. http://www.spout.com/members/0/tags/fantasy/MemberTagFilms.aspxfantasy
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