list http://www.spout.com/ Recent community activity around The Burrowers 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_Burrowers/342884/default.aspx Title: The Burrowers
Year: 2008
Director: J.T. Petty
Plot: When a family of Dakota Territory pioneers is violently abducted and a posse is assembled to venture into the badlands and rescue them, the frightening truth they discover in the hills leads them to believe man may not be the only hunter stalking the Old West. The year is 1879, and beyond the fringes of civilization a handful of courageous pioneers maintain settlements while exploring the unknown territories. One night, under the shimmering Western stars, a family from one of these settlements is brutally dragged into darkness by a group of unknown invaders. At first the kidnappers are thought to be hostile Native Americans, and a posse forms to bring the family back home safely. Venturing out into the unmapped territories is an Irish immigrant desperate to find his lost love, a naïve teen eager to prove his worth, a former slave seeking his fortune after gaining his freedom, and a hardened pair of battle-weary Indian fighters. But nature's wrath and the tomahawks of hostile tribes aren't the only threats that this group will be forced to contend with, because as the bodies begin to multiply and the truth about the abductors gradually emerges, these rescuers will find out that there are forces in this world that can't be described in human terms -- and that seem to have motivations beyond our comprehension. Clancy Brown, William Mapother, Sean Patrick Thomas, and Doug Hutchison star in Soft for Digging director J.T. Petty's subterranean Western shocker.
Times Tagged: 4
Number of Lists: 1
Number of blog posts: 4
SpoutRating: 2
]]>Tue, 16 Dec 2008 21:01:21 GMTThe Burrowers2008J.T. PettyWhen a family of Dakota Territory pioneers is violently abducted and a posse is assembled to venture into the badlands and rescue them, the frightening truth they discover in the hills leads them to believe man may not be the only hunter stalking the Old West. The year is 1879, and beyond the fringes of civilization a handful of courageous pioneers maintain settlements while exploring the unknown territories. One night, under the shimmering Western stars, a family from one of these settlements is brutally dragged into darkness by a group of unknown invaders. At first the kidnappers are thought to be hostile Native Americans, and a posse forms to bring the family back home safely. Venturing out into the unmapped territories is an Irish immigrant desperate to find his lost love, a naïve teen eager to prove his worth, a former slave seeking his fortune after gaining his freedom, and a hardened pair of battle-weary Indian fighters. But nature's wrath and the tomahawks of hostile tribes aren't the only threats that this group will be forced to contend with, because as the bodies begin to multiply and the truth about the abductors gradually emerges, these rescuers will find out that there are forces in this world that can't be described in human terms -- and that seem to have motivations beyond our comprehension. Clancy Brown, William Mapother, Sean Patrick Thomas, and Doug Hutchison star in Soft for Digging director J.T. Petty's subterranean Western shocker.4Slightly Tagged (1-5)142http://www.spout.com/ProductImages/s342884.jpghttp://www.spout.com/films/The_Burrowers/342884/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/12/16/38464.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 12/16/2008 4:01:21 PM
Body: I recently submitted a ballot for indieWIRE’s annual Critics’ Poll, which offers respondents a chance to create two separate lists of the best films of the year: one comprised of films which received theatrical distribution (which is described as, at minimum, a one week run in a commercial theater in New York City, essentially the same type of release required for Oscar consideration); and a list of the best films which weren’t distributed commercially in 2008––ie: those which screened only at festivals, and/or in other non-commercial venues, and/or outside of New York. Because I see so many films at festivals, I had a far greater pool of candidates for the latter list than the former. My “true” top ten list would combine films which were made readily available to audiences via studio subsidiaries (such as Synecdoche, NY and Rachel Getting Married), with films that I fell in love with at a festival and may never get a chance to see again, and with films which had the bare minimum New York release, but nevertheless were probably still seen by fewer people than the average distributor-less festival hit (such as Build a Ship, Sail to Sadness). That said, I understand the purpose of making the distinction––even if there was no other benefit to it, there’s always the hope that some smaller theatrical and straight-to-DVD distributors will look to the annual Best Undistributed list as a reference to films they might have missed. After all, 2007’s “winner,” Hong Sang Soo’s Woman on the Beach, was purchased and ended up in theaters barely a week into the new year. In fact, I think singling out films which are still on the market, and in a perfect world wouldn’t be, is so worth doing, that not only am I revealing here the ten titles I included in the poll, but I’m adding a few bonus films. The following list is presented alphabetically and should be considered unranked, with the exception of the first title mentioned — they all deserve to be seen by wider audiences, but the reception thus far bestowed on the work of one French master in particular is actually a travesty. Frontier of Dawn, directed by Phillipe Garrel Reviewed at Cannes Other notable festivals: Sao Paulo, Mar Del Plata Why it’s on this list: (from my review) “A story of amour gone so fou that the natural world becomes subject to the supernatural. Hands down the most accessible Garrel film I’ve seen, it’s still a strange, swoony, genre-bending challenge.” 35 Rhums, directed by Claire Denis Reviewed at Toronto Other notable festivals: Venice Why it’s on this list: (from my review) “Rather shockingly, the new Claire Denis film is also a bittersweet family movie, and the work you put into it early on is paid back in surprisingly tender dividends.” The Burrowers, directed by J.T. Petty Reviewed at Fantastic Fest Other notable Festivals: Toronto, Screamfest. Why it’s on this list: (from my review) “Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion.” Worth noting:  Lionsgate originally planned a theatrical release, but announced a couple of days ago that come April 2009, they’re dumping it to DVD. For a film that looks this good on a big screen, this is equivalent to it not being distributed at all. Everything is Fine, directed by Yves Christian Fournier Reviewed in the market at Cannes Notable festivals: Berlinale, Seattle International (where it won the New Directors Showcase Competition. Grand Jury Prize), Denver Why it’s on this list: (from my review) “With a strong sense of style and an especially inventive feel for sound design, first-time feature director Yves Christian Fournier manages to turn the story of the inner conflict of a 17 year-old boy into something almost resembling a thriller, with a final act catharsis that left several of us in the screening room in tears.” Finally, Lillian and Dan, directed by Mike Gibisser Reviewed at CineVegas Other notable festivals: AFI Los Angeles, Denver Why it’s on this list: (from my review) “The mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtleties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker.” Forbidden Lies, directed by Anna Broinowski Reviewed at True/False Other notable festivals: SilverDocs, Aljazeera Film Festival (where it won the Golden Award) Why it’s on this list: (from my review) “Broinowski’s fabrications hardly undermine the film’s integrity––in fact, it’s through the melding of form and content that Broinowski both delivers her most potent commentary on the Khouri clusterfuck, and provides the film with some of its most crowd-pleasing moments.” Go Go Tales, directed by Abel Ferrara Reviewed at NYFF 2007 Other notable festivals: Cannes 2007, CineVegas 2008 Why it’s on this list: (from my review) “Go Go Tales is probably the most lovingly photographed stripper movie of all time, but it’s most exciting in the friction it finds between the gaga dream gaze of the patrons, and the behind-the-scenes scrambling that supports it.” Worth noting: Though Go Go Tales was rumored to have been acquired concurrent with its New York Film Festival debut in the fall of 2007, an official announcement was never made, and since the film then popped up in the sidebar for undistributed pictures at CIneVegas this past summer, I guess it’s still available…? Intimidad, directed by David Redmon and Ashley Sabin Reviewed at SXSW Other notable festivals: AFI Dallas, Sidewalk (where it won Best Documentary), Denver, Sarasota Why it’s on this list: (from my review) “At times, when [its subjects] crumble under the stress of their situation, Intimidad offers moments of genuine emotion that are miles removed from the score-saturated tear-jerking money shots that mark generic issue docs.” Worth noting: Intimidad had two screenings at MoMA this fall, which wasn’t enough to qualify for indieWIRE’s theatrical list, and thus it earned a spot on my undistributed list. But the filmmakers are releasing Intimidad on DVD in 2009, via their Carnivalesque Films label. La Vie Moderne, directed by Raymond Depardon Reviewed at Cannes Other notable festivals: None that I recognize; after theatrical runs in France and Belgium, it opens in the Netherlands and the UK in Spring 2009 Why it’s on this list: (from my review) “Depardon’s style of inquiry certainly requires more of an investment from his audience than fans of contemporary crowd-pleaser non-fiction might be used to, but it’s an investment that pays off. Where coarser filmmakers approach their subjects with laser-guided precision, essentially turning each question rhetorical, Depardon simply sets up a camera and has a conversation.” Prince of Broadway, directed by Sean Baker Seen at Woodstock Other notable festivals: LAFF (where it won the grand prize), Denver Why it’s on this list: Dardennes comparisons are flying around fast and furious of late, but no joke: Sean Baker’s follow-up to Take Out––shot on location in Manhattan’s wholesale district for a low-mid five figure budget, using virtually all non-professional actors––is Three Men and a Baby meets L’enfant. It’s a genuinely independent crowd-pleaser that never panders. Sita Sings the Blues, directed by Nina Paley Reviewed at Tribeca Other notable festivals: Berlinale. Denver. Winner of the Not Coming to a Theater Near You award at the Gothams. Why it’s on this list: (from my review) “A strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Worth noting: As of this writing, Paley *can’t* distribute her film, because she’s still negotiating the right to use the recordings of Annette Hanshaw which comprise the bulk of the film’s soundtrack. Treeless Mountain, directed by So Yong Kim Reviewed at Toronto Other notable festivals: None, as far as I know Why it’s on this list: (from my review) “An autobiographical feature about two tiny girls sent to live with distant relatives by their caring but insolvent mother, Treeless Mountain is a sparse but incredibly moving film about love turning to longing turning to resentment,…Hands down, the thing that makes Mountain a Toronto must-see is the performances, which are all the more impressive considering the fact that the film’s two young stars are non-actors.” Voy a Explotar, directed by Gerardo Naranjo Reviewed at NYFF Other notable festivals: Toronto, Venice, Thessaloniki Why it’s on this list: (from my review) “It’s the rare love letter to influence that’s infused with enough personal style and sentiment to transform the stolen into something thrilling and moving.” Yeast, directed by Mary Bronstein Reviewed at SXSW Other notable festivals: Sarasota, IFFB, St. Louis (where it won the New Filmmakers Forum competition) Why it’s on this list: (from my review) “Even fans of Frownland (which Bronstein starred in under the direction of her husband Ronald) may not be ready for Yeast’s full-on assault on the senses. This is a film that not only seeks to dodge the audience’s comfort zone, but it actually, actively mocks it.” Worth noting: Yeast went straight from the festival circuit to Amazon VOD. I’m not sure if that counts as “undistributed”, but it definitely went without a theatrical release. Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 16 Dec 2008 21:01:21 GMTKarinaKarina on SpoutBlog12/16/2008 4:01:21 PM I recently submitted a ballot for indieWIRE’s annual Critics’ Poll, which offers respondents a chance to create two separate lists of the best films of the year: one comprised of films which received theatrical distribution (which is described as, at minimum, a one week run in a commercial theater in New York City, essentially the same type of release required for Oscar consideration); and a list of the best films which weren’t distributed commercially in 2008––ie: those which screened only at festivals, and/or in other non-commercial venues, and/or outside of New York. Because I see so many films at festivals, I had a far greater pool of candidates for the latter list than the former. My “true” top ten list would combine films which were made readily available to audiences via studio subsidiaries (such as Synecdoche, NY and Rachel Getting Married), with films that I fell in love with at a festival and may never get a chance to see again, and with films which had the bare minimum New York release, but nevertheless were probably still seen by fewer people than the average distributor-less festival hit (such as Build a Ship, Sail to Sadness). That said, I understand the purpose of making the distinction––even if there was no other benefit to it, there’s always the hope that some smaller theatrical and straight-to-DVD distributors will look to the annual Best Undistributed list as a reference to films they might have missed. After all, 2007’s “winner,” Hong Sang Soo’s Woman on the Beach, was purchased and ended up in theaters barely a week into the new year. In fact, I think singling out films which are still on the market, and in a perfect world wouldn’t be, is so worth doing, that not only am I revealing here the ten titles I included in the poll, but I’m adding a few bonus films. The following list is presented alphabetically and should be considered unranked, with the exception of the first title mentioned — they all deserve to be seen by wider audiences, but the reception thus far bestowed on the work of one French master in particular is actually a travesty. Frontier of Dawn, directed by Phillipe Garrel Reviewed at Cannes Other notable festivals: Sao Paulo, Mar Del Plata Why it’s on this list: (from my review) “A story of amour gone so fou that the natural world becomes subject to the supernatural. Hands down the most accessible Garrel film I’ve seen, it’s still a strange, swoony, genre-bending challenge.” 35 Rhums, directed by Claire Denis Reviewed at Toronto Other notable festivals: Venice Why it’s on this list: (from my review) “Rather shockingly, the new Claire Denis film is also a bittersweet family movie, and the work you put into it early on is paid back in surprisingly tender dividends.” The Burrowers, directed by J.T. Petty Reviewed at Fantastic Fest Other notable Festivals: Toronto, Screamfest. Why it’s on this list: (from my review) “Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion.” Worth noting:  Lionsgate originally planned a theatrical release, but announced a couple of days ago that come April 2009, they’re dumping it to DVD. For a film that looks this good on a big screen, this is equivalent to it not being distributed at all. Everything is Fine, directed by Yves Christian Fournier Reviewed in the market at Cannes Notable festivals: Berlinale, Seattle International (where it won the New Directors Showcase Competition. Grand Jury Prize), Denver Why it’s on this list: (from my review) “With a strong sense of style and an especially inventive feel for sound design, first-time feature director Yves Christian Fournier manages to turn the story of the inner conflict of a 17 year-old boy into something almost resembling a thriller, with a final act catharsis that left several of us in the screening room in tears.” Finally, Lillian and Dan, directed by Mike Gibisser Reviewed at CineVegas Other notable festivals: AFI Los Angeles, Denver Why it’s on this list: (from my review) “The mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtleties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker.” Forbidden Lies, directed by Anna Broinowski Reviewed at True/False Other notable festivals: SilverDocs, Aljazeera Film Festival (where it won the Golden Award) Why it’s on this list: (from my review) “Broinowski’s fabrications hardly undermine the film’s integrity––in fact, it’s through the melding of form and content that Broinowski both delivers her most potent commentary on the Khouri clusterfuck, and provides the film with some of its most crowd-pleasing moments.” Go Go Tales, directed by Abel Ferrara Reviewed at NYFF 2007 Other notable festivals: Cannes 2007, CineVegas 2008 Why it’s on this list: (from my review) “Go Go Tales is probably the most lovingly photographed stripper movie of all time, but it’s most exciting in the friction it finds between the gaga dream gaze of the patrons, and the behind-the-scenes scrambling that supports it.” Worth noting: Though Go Go Tales was rumored to have been acquired concurrent with its New York Film Festival debut in the fall of 2007, an official announcement was never made, and since the film then popped up in the sidebar for undistributed pictures at CIneVegas this past summer, I guess it’s still available…? Intimidad, directed by David Redmon and Ashley Sabin Reviewed at SXSW Other notable festivals: AFI Dallas, Sidewalk (where it won Best Documentary), Denver, Sarasota Why it’s on this list: (from my review) “At times, when [its subjects] crumble under the stress of their situation, Intimidad offers moments of genuine emotion that are miles removed from the score-saturated tear-jerking money shots that mark generic issue docs.” Worth noting: Intimidad had two screenings at MoMA this fall, which wasn’t enough to qualify for indieWIRE’s theatrical list, and thus it earned a spot on my undistributed list. But the filmmakers are releasing Intimidad on DVD in 2009, via their Carnivalesque Films label. La Vie Moderne, directed by Raymond Depardon Reviewed at Cannes Other notable festivals: None that I recognize; after theatrical runs in France and Belgium, it opens in the Netherlands and the UK in Spring 2009 Why it’s on this list: (from my review) “Depardon’s style of inquiry certainly requires more of an investment from his audience than fans of contemporary crowd-pleaser non-fiction might be used to, but it’s an investment that pays off. Where coarser filmmakers approach their subjects with laser-guided precision, essentially turning each question rhetorical, Depardon simply sets up a camera and has a conversation.” Prince of Broadway, directed by Sean Baker Seen at Woodstock Other notable festivals: LAFF (where it won the grand prize), Denver Why it’s on this list: Dardennes comparisons are flying around fast and furious of late, but no joke: Sean Baker’s follow-up to Take Out––shot on location in Manhattan’s wholesale district for a low-mid five figure budget, using virtually all non-professional actors––is Three Men and a Baby meets L’enfant. It’s a genuinely independent crowd-pleaser that never panders. Sita Sings the Blues, directed by Nina Paley Reviewed at Tribeca Other notable festivals: Berlinale. Denver. Winner of the Not Coming to a Theater Near You award at the Gothams. Why it’s on this list: (from my review) “A strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Worth noting: As of this writing, Paley *can’t* distribute her film, because she’s still negotiating the right to use the recordings of Annette Hanshaw which comprise the bulk of the film’s soundtrack. Treeless Mountain, directed by So Yong Kim Reviewed at Toronto Other notable festivals: None, as far as I know Why it’s on this list: (from my review) “An autobiographical feature about two tiny girls sent to live with distant relatives by their caring but insolvent mother, Treeless Mountain is a sparse but incredibly moving film about love turning to longing turning to resentment,…Hands down, the thing that makes Mountain a Toronto must-see is the performances, which are all the more impressive considering the fact that the film’s two young stars are non-actors.” Voy a Explotar, directed by Gerardo Naranjo Reviewed at NYFF Other notable festivals: Toronto, Venice, Thessaloniki Why it’s on this list: (from my review) “It’s the rare love letter to influence that’s infused with enough personal style and sentiment to transform the stolen into something thrilling and moving.” Yeast, directed by Mary Bronstein Reviewed at SXSW Other notable festivals: Sarasota, IFFB, St. Louis (where it won the New Filmmakers Forum competition) Why it’s on this list: (from my review) “Even fans of Frownland (which Bronstein starred in under the direction of her husband Ronald) may not be ready for Yeast’s full-on assault on the senses. This is a film that not only seeks to dodge the audience’s comfort zone, but it actually, actively mocks it.” Worth noting: Yeast went straight from the festival circuit to Amazon VOD. I’m not sure if that counts as “undistributed”, but it definitely went without a theatrical release. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/12/16/38463.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/16/2008 4:01:08 PM
Body: I recently submitted a ballot for indieWIRE’s annual Critics’ Poll, which offers respondents a chance to create two separate lists of the best films of the year: one comprised of films which received theatrical distribution (which is described as, at minimum, a one week run in a commercial theater in New York City, essentially the same type of release required for Oscar consideration); and a list of the best films which weren’t distributed commercially in 2008––ie: those which screened only at festivals, and/or in other non-commercial venues, and/or outside of New York. Because I see so many films at festivals, I had a far greater pool of candidates for the latter list than the former. My “true” top ten list would combine films which were made readily available to audiences via studio subsidiaries (such as Synecdoche, NY and Rachel Getting Married), with films that I fell in love with at a festival and may never get a chance to see again, and with films which had the bare minimum New York release, but nevertheless were probably still seen by fewer people than the average distributor-less festival hit (such as Build a Ship, Sail to Sadness). That said, I understand the purpose of making the distinction––even if there was no other benefit to it, there’s always the hope that some smaller theatrical and straight-to-DVD distributors will look to the annual Best Undistributed list as a reference to films they might have missed. After all, 2007’s “winner,” Hong Sang Soo’s Woman on the Beach, was purchased and ended up in theaters barely a week into the new year. In fact, I think singling out films which are still on the market, and in a perfect world wouldn’t be, is so worth doing, that not only am I revealing here the ten titles I included in the poll, but I’m adding a few bonus films. The following list is presented alphabetically and should be considered unranked, with the exception of the first title mentioned — they all deserve to be seen by wider audiences, but the reception thus far bestowed on the work of one French master in particular is actually a travesty. Frontier of Dawn, directed by Phillipe Garrel Reviewed at Cannes Other notable festivals: Sao Paulo, Mar Del Plata Why it’s on this list: (from my review) “A story of amour gone so fou that the natural world becomes subject to the supernatural. Hands down the most accessible Garrel film I’ve seen, it’s still a strange, swoony, genre-bending challenge.” 35 Rhums, directed by Claire Denis Reviewed at Toronto Other notable festivals: Venice Why it’s on this list: (from my review) “Rather shockingly, the new Claire Denis film is also a bittersweet family movie, and the work you put into it early on is paid back in surprisingly tender dividends.” The Burrowers, directed by J.T. Petty Reviewed at Fantastic Fest Other notable Festivals: Toronto, Screamfest. Why it’s on this list: (from my review) “Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion.” Worth noting:  Lionsgate originally planned a theatrical release, but announced a couple of days ago that come April 2009, they’re dumping it to DVD. For a film that looks this good on a big screen, this is equivalent to it not being distributed at all. Everything is Fine, directed by Yves Christian Fournier Reviewed in the market at Cannes Notable festivals: Berlinale, Seattle International (where it won the New Directors Showcase Competition. Grand Jury Prize), Denver Why it’s on this list: (from my review) “With a strong sense of style and an especially inventive feel for sound design, first-time feature director Yves Christian Fournier manages to turn the story of the inner conflict of a 17 year-old boy into something almost resembling a thriller, with a final act catharsis that left several of us in the screening room in tears.” Finally, Lillian and Dan, directed by Mike Gibisser Reviewed at CineVegas Other notable festivals: AFI Los Angeles, Denver Why it’s on this list: (from my review) “The mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtleties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker.” Forbidden Lies, directed by Anna Broinowski Reviewed at True/False Other notable festivals: SilverDocs, Aljazeera Film Festival (where it won the Golden Award) Why it’s on this list: (from my review) “Broinowski’s fabrications hardly undermine the film’s integrity––in fact, it’s through the melding of form and content that Broinowski both delivers her most potent commentary on the Khouri clusterfuck, and provides the film with some of its most crowd-pleasing moments.” Go Go Tales, directed by Abel Ferrara Reviewed at NYFF 2007 Other notable festivals: Cannes 2007, CineVegas 2008 Why it’s on this list: (from my review) “Go Go Tales is probably the most lovingly photographed stripper movie of all time, but it’s most exciting in the friction it finds between the gaga dream gaze of the patrons, and the behind-the-scenes scrambling that supports it.” Worth noting: Though Go Go Tales was rumored to have been acquired concurrent with its New York Film Festival debut in the fall of 2007, an official announcement was never made, and since the film then popped up in the sidebar for undistributed pictures at CIneVegas this past summer, I guess it’s still available…? Intimidad, directed by David Redmon and Ashley Sabin Reviewed at SXSW Other notable festivals: AFI Dallas, Sidewalk (where it won Best Documentary), Denver, Sarasota Why it’s on this list: (from my review) “At times, when [its subjects] crumble under the stress of their situation, Intimidad offers moments of genuine emotion that are miles removed from the score-saturated tear-jerking money shots that mark generic issue docs.” Worth noting: Intimidad had two screenings at MoMA this fall, which wasn’t enough to qualify for indieWIRE’s theatrical list, and thus it earned a spot on my undistributed list. But the filmmakers are releasing Intimidad on DVD in 2009, via their Carnivalesque Films label. La Vie Moderne, directed by Raymond Depardon Reviewed at Cannes Other notable festivals: None that I recognize; after theatrical runs in France and Belgium, it opens in the Netherlands and the UK in Spring 2009 Why it’s on this list: (from my review) “Depardon’s style of inquiry certainly requires more of an investment from his audience than fans of contemporary crowd-pleaser non-fiction might be used to, but it’s an investment that pays off. Where coarser filmmakers approach their subjects with laser-guided precision, essentially turning each question rhetorical, Depardon simply sets up a camera and has a conversation.” Prince of Broadway, directed by Sean Baker Seen at Woodstock Other notable festivals: LAFF (where it won the grand prize), Denver Why it’s on this list: Dardennes comparisons are flying around fast and furious of late, but no joke: Sean Baker’s follow-up to Take Out––shot on location in Manhattan’s wholesale district for a low-mid five figure budget, using virtually all non-professional actors––is Three Men and a Baby meets L’enfant. It’s a genuinely independent crowd-pleaser that never panders. Sita Sings the Blues, directed by Nina Paley Reviewed at Tribeca Other notable festivals: Berlinale. Denver. Winner of the Not Coming to a Theater Near You award at the Gothams. Why it’s on this list: (from my review) “A strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Worth noting: As of this writing, Paley *can’t* distribute her film, because she’s still negotiating the right to use the recordings of Annette Hanshaw which comprise the bulk of the film’s soundtrack. Treeless Mountain, directed by So Yong Kim Reviewed at Toronto Other notable festivals: None, as far as I know Why it’s on this list: (from my review) “An autobiographical feature about two tiny girls sent to live with distant relatives by their caring but insolvent mother, Treeless Mountain is a sparse but incredibly moving film about love turning to longing turning to resentment,…Hands down, the thing that makes Mountain a Toronto must-see is the performances, which are all the more impressive considering the fact that the film’s two young stars are non-actors.” Voy a Explotar, directed by Gerardo Naranjo Reviewed at NYFF Other notable festivals: Toronto, Venice, Thessaloniki Why it’s on this list: (from my review) “It’s the rare love letter to influence that’s infused with enough personal style and sentiment to transform the stolen into something thrilling and moving.” Yeast, directed by Mary Bronstein Reviewed at SXSW Other notable festivals: Sarasota, IFFB, St. Louis (where it won the New Filmmakers Forum competition) Why it’s on this list: (from my review) “Even fans of Frownland (which Bronstein starred in under the direction of her husband Ronald) may not be ready for Yeast’s full-on assault on the senses. This is a film that not only seeks to dodge the audience’s comfort zone, but it actually, actively mocks it.” Worth noting: Yeast went straight from the festival circuit to Amazon VOD. I’m not sure if that counts as “undistributed”, but it definitely went without a theatrical release. Originally posted on:SpoutBlog
]]>Tue, 16 Dec 2008 21:01:08 GMTSpoutBlogSpoutBlog on spout.com12/16/2008 4:01:08 PM I recently submitted a ballot for indieWIRE’s annual Critics’ Poll, which offers respondents a chance to create two separate lists of the best films of the year: one comprised of films which received theatrical distribution (which is described as, at minimum, a one week run in a commercial theater in New York City, essentially the same type of release required for Oscar consideration); and a list of the best films which weren’t distributed commercially in 2008––ie: those which screened only at festivals, and/or in other non-commercial venues, and/or outside of New York. Because I see so many films at festivals, I had a far greater pool of candidates for the latter list than the former. My “true” top ten list would combine films which were made readily available to audiences via studio subsidiaries (such as Synecdoche, NY and Rachel Getting Married), with films that I fell in love with at a festival and may never get a chance to see again, and with films which had the bare minimum New York release, but nevertheless were probably still seen by fewer people than the average distributor-less festival hit (such as Build a Ship, Sail to Sadness). That said, I understand the purpose of making the distinction––even if there was no other benefit to it, there’s always the hope that some smaller theatrical and straight-to-DVD distributors will look to the annual Best Undistributed list as a reference to films they might have missed. After all, 2007’s “winner,” Hong Sang Soo’s Woman on the Beach, was purchased and ended up in theaters barely a week into the new year. In fact, I think singling out films which are still on the market, and in a perfect world wouldn’t be, is so worth doing, that not only am I revealing here the ten titles I included in the poll, but I’m adding a few bonus films. The following list is presented alphabetically and should be considered unranked, with the exception of the first title mentioned — they all deserve to be seen by wider audiences, but the reception thus far bestowed on the work of one French master in particular is actually a travesty. Frontier of Dawn, directed by Phillipe Garrel Reviewed at Cannes Other notable festivals: Sao Paulo, Mar Del Plata Why it’s on this list: (from my review) “A story of amour gone so fou that the natural world becomes subject to the supernatural. Hands down the most accessible Garrel film I’ve seen, it’s still a strange, swoony, genre-bending challenge.” 35 Rhums, directed by Claire Denis Reviewed at Toronto Other notable festivals: Venice Why it’s on this list: (from my review) “Rather shockingly, the new Claire Denis film is also a bittersweet family movie, and the work you put into it early on is paid back in surprisingly tender dividends.” The Burrowers, directed by J.T. Petty Reviewed at Fantastic Fest Other notable Festivals: Toronto, Screamfest. Why it’s on this list: (from my review) “Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion.” Worth noting:  Lionsgate originally planned a theatrical release, but announced a couple of days ago that come April 2009, they’re dumping it to DVD. For a film that looks this good on a big screen, this is equivalent to it not being distributed at all. Everything is Fine, directed by Yves Christian Fournier Reviewed in the market at Cannes Notable festivals: Berlinale, Seattle International (where it won the New Directors Showcase Competition. Grand Jury Prize), Denver Why it’s on this list: (from my review) “With a strong sense of style and an especially inventive feel for sound design, first-time feature director Yves Christian Fournier manages to turn the story of the inner conflict of a 17 year-old boy into something almost resembling a thriller, with a final act catharsis that left several of us in the screening room in tears.” Finally, Lillian and Dan, directed by Mike Gibisser Reviewed at CineVegas Other notable festivals: AFI Los Angeles, Denver Why it’s on this list: (from my review) “The mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtleties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker.” Forbidden Lies, directed by Anna Broinowski Reviewed at True/False Other notable festivals: SilverDocs, Aljazeera Film Festival (where it won the Golden Award) Why it’s on this list: (from my review) “Broinowski’s fabrications hardly undermine the film’s integrity––in fact, it’s through the melding of form and content that Broinowski both delivers her most potent commentary on the Khouri clusterfuck, and provides the film with some of its most crowd-pleasing moments.” Go Go Tales, directed by Abel Ferrara Reviewed at NYFF 2007 Other notable festivals: Cannes 2007, CineVegas 2008 Why it’s on this list: (from my review) “Go Go Tales is probably the most lovingly photographed stripper movie of all time, but it’s most exciting in the friction it finds between the gaga dream gaze of the patrons, and the behind-the-scenes scrambling that supports it.” Worth noting: Though Go Go Tales was rumored to have been acquired concurrent with its New York Film Festival debut in the fall of 2007, an official announcement was never made, and since the film then popped up in the sidebar for undistributed pictures at CIneVegas this past summer, I guess it’s still available…? Intimidad, directed by David Redmon and Ashley Sabin Reviewed at SXSW Other notable festivals: AFI Dallas, Sidewalk (where it won Best Documentary), Denver, Sarasota Why it’s on this list: (from my review) “At times, when [its subjects] crumble under the stress of their situation, Intimidad offers moments of genuine emotion that are miles removed from the score-saturated tear-jerking money shots that mark generic issue docs.” Worth noting: Intimidad had two screenings at MoMA this fall, which wasn’t enough to qualify for indieWIRE’s theatrical list, and thus it earned a spot on my undistributed list. But the filmmakers are releasing Intimidad on DVD in 2009, via their Carnivalesque Films label. La Vie Moderne, directed by Raymond Depardon Reviewed at Cannes Other notable festivals: None that I recognize; after theatrical runs in France and Belgium, it opens in the Netherlands and the UK in Spring 2009 Why it’s on this list: (from my review) “Depardon’s style of inquiry certainly requires more of an investment from his audience than fans of contemporary crowd-pleaser non-fiction might be used to, but it’s an investment that pays off. Where coarser filmmakers approach their subjects with laser-guided precision, essentially turning each question rhetorical, Depardon simply sets up a camera and has a conversation.” Prince of Broadway, directed by Sean Baker Seen at Woodstock Other notable festivals: LAFF (where it won the grand prize), Denver Why it’s on this list: Dardennes comparisons are flying around fast and furious of late, but no joke: Sean Baker’s follow-up to Take Out––shot on location in Manhattan’s wholesale district for a low-mid five figure budget, using virtually all non-professional actors––is Three Men and a Baby meets L’enfant. It’s a genuinely independent crowd-pleaser that never panders. Sita Sings the Blues, directed by Nina Paley Reviewed at Tribeca Other notable festivals: Berlinale. Denver. Winner of the Not Coming to a Theater Near You award at the Gothams. Why it’s on this list: (from my review) “A strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Worth noting: As of this writing, Paley *can’t* distribute her film, because she’s still negotiating the right to use the recordings of Annette Hanshaw which comprise the bulk of the film’s soundtrack. Treeless Mountain, directed by So Yong Kim Reviewed at Toronto Other notable festivals: None, as far as I know Why it’s on this list: (from my review) “An autobiographical feature about two tiny girls sent to live with distant relatives by their caring but insolvent mother, Treeless Mountain is a sparse but incredibly moving film about love turning to longing turning to resentment,…Hands down, the thing that makes Mountain a Toronto must-see is the performances, which are all the more impressive considering the fact that the film’s two young stars are non-actors.” Voy a Explotar, directed by Gerardo Naranjo Reviewed at NYFF Other notable festivals: Toronto, Venice, Thessaloniki Why it’s on this list: (from my review) “It’s the rare love letter to influence that’s infused with enough personal style and sentiment to transform the stolen into something thrilling and moving.” Yeast, directed by Mary Bronstein Reviewed at SXSW Other notable festivals: Sarasota, IFFB, St. Louis (where it won the New Filmmakers Forum competition) Why it’s on this list: (from my review) “Even fans of Frownland (which Bronstein starred in under the direction of her husband Ronald) may not be ready for Yeast’s full-on assault on the senses. This is a film that not only seeks to dodge the audience’s comfort zone, but it actually, actively mocks it.” Worth noting: Yeast went straight from the festival circuit to Amazon VOD. I’m not sure if that counts as “undistributed”, but it definitely went without a theatrical release. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/9/22/35392.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 9/22/2008 4:03:09 PM
Body: It would be an exaggeration to suggest that JT Petty’s The Burrowers goes miles deeper than the hastily-dug graves that play a central role in its plot, but it’s nonetheless one of the more pleasant surprises of Fantastic Fest thus far. Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion. Though its narrative definitely turns on the actions of creatures from the unknown, said creatures turn out to be relatively easy to extinguish compared to prejudice and moral decay in the hearts of ordinary men. It plays less like a horror film than a Terrence Malick film, with a mythological MacGuffin designed to reveal dark truths about the men forced to deal with it. Coffey (Karl Geary), an Irish farmhand in the Dakota territories just after the Civil War, comes a-calling at the Stewart family cabin to ask the young, beautiful Maryanne to marry him. When he gets there, he finds blood, four corpses, and six missing women and children, including his wannabee fiancee. With the locals certain that neighboring “bad Indians” must have captured the women and taken them away, a rescue party is formed to hunt down the perpetrators and hopefully get the ladies back. The outlook is not rosy. Coffey asks a fellow searcher, the cocky Parcher (William Mapother), if he’s ever managed to get a woman captured by Indians back. “Not alive,” he admits. And though he’s heard tell of women coming back breathing, they always return fundamentally changed. As Parcher tells the teenage son of his own love interest, “Any Christian woman would prefer dying to capture.” The Territories are drawn at first as an expanse so barren that it’s almost devoid of mystery––there can’t be any threat out there except for various types of Indians, because if there were, there would be nowhere for them to hide. But through Parcher as a translator, they soon learn from a number of natives (hotile in verbiage when not actualy shooting to kill) that there is another menace out there, an insidious race of flesh-eating creatures called Burrowers. The Burrowers poison their victims, bury them in shallow graves and come back a few days later to feed. They predate the land wars between settlers and Indians––they were there first. As one Indian maiden puts it, the white men “killed all the buffalo. So they had to feed on something else.” With this bit of knowledge, the mission shifts a bit, but Coffey refuses to give up the search for his girl. This maybe what qualifies The Burrowers for its place in this festival more than its liminal horror cred: I’ve noticed that if there’s anything that ties Fantastic Fest films together beyond blood and guts, it’s the idea that the world is full of men who are a little different––a little more sensitive, either a little skinnier or a little fatter, a little smarter but also a little less capable of traditional macho dominance––who will do anything to get and or/keep a girl. For long stretches, The Burrowers has to look and feel of a Terrence Malick film, all wide, wide shots of Coffey and gang slowly, slowly making their way across the vast expanse of sunlit fields in a sleep-deprived haze, with occasional cutaways to the details of the landscape. It sticks in the head partially because of its overwhelming beauty, but largely because of its refusal to play by the monster movie rules. The answers to some of the narrative’s key questions are implied, but never fully tied up in neat bows. And most importantly, the notion of evil is not limited to the supernatural plane––it’s neither Burrower nor Indian responsible for the film’s final deaths, but someone allegedly on the side of the good guys. Conflict arises naturally from friction within the group as often as it’s sparked by outside forces. A key secondary character mutters the frustrated realization late in the film that “Nothing is easy.” It’s a one-line joke in a way, but in hindsight, after the plot threads are wrapped up as tight as Petty lets them get, it also seems like a sigh of existential discontent. It’s a sentiment that could be applied towards Burrowers chances of finding an audience: with no firm release date set (at least, not according to IMDb) there’s no telling if Lionsgate plans to shunt Petty’s project off the way they’ve done to Midnight Meat Train (and apparently plan to do with the bulk of their horror shelf stock going forward), or if they’ll recognize that there’s something here that elevates The Burrowers above the genre content that they’ve apparently come to find distasteful. Nothing is easy, indeed. Originally posted on:SpoutBlog » Karina Longworth
]]>Mon, 22 Sep 2008 20:03:09 GMTKarinaKarina on SpoutBlog9/22/2008 4:03:09 PMIt would be an exaggeration to suggest that JT Petty’s The Burrowers goes miles deeper than the hastily-dug graves that play a central role in its plot, but it’s nonetheless one of the more pleasant surprises of Fantastic Fest thus far. Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion. Though its narrative definitely turns on the actions of creatures from the unknown, said creatures turn out to be relatively easy to extinguish compared to prejudice and moral decay in the hearts of ordinary men. It plays less like a horror film than a Terrence Malick film, with a mythological MacGuffin designed to reveal dark truths about the men forced to deal with it. Coffey (Karl Geary), an Irish farmhand in the Dakota territories just after the Civil War, comes a-calling at the Stewart family cabin to ask the young, beautiful Maryanne to marry him. When he gets there, he finds blood, four corpses, and six missing women and children, including his wannabee fiancee. With the locals certain that neighboring “bad Indians” must have captured the women and taken them away, a rescue party is formed to hunt down the perpetrators and hopefully get the ladies back. The outlook is not rosy. Coffey asks a fellow searcher, the cocky Parcher (William Mapother), if he’s ever managed to get a woman captured by Indians back. “Not alive,” he admits. And though he’s heard tell of women coming back breathing, they always return fundamentally changed. As Parcher tells the teenage son of his own love interest, “Any Christian woman would prefer dying to capture.” The Territories are drawn at first as an expanse so barren that it’s almost devoid of mystery––there can’t be any threat out there except for various types of Indians, because if there were, there would be nowhere for them to hide. But through Parcher as a translator, they soon learn from a number of natives (hotile in verbiage when not actualy shooting to kill) that there is another menace out there, an insidious race of flesh-eating creatures called Burrowers. The Burrowers poison their victims, bury them in shallow graves and come back a few days later to feed. They predate the land wars between settlers and Indians––they were there first. As one Indian maiden puts it, the white men “killed all the buffalo. So they had to feed on something else.” With this bit of knowledge, the mission shifts a bit, but Coffey refuses to give up the search for his girl. This maybe what qualifies The Burrowers for its place in this festival more than its liminal horror cred: I’ve noticed that if there’s anything that ties Fantastic Fest films together beyond blood and guts, it’s the idea that the world is full of men who are a little different––a little more sensitive, either a little skinnier or a little fatter, a little smarter but also a little less capable of traditional macho dominance––who will do anything to get and or/keep a girl. For long stretches, The Burrowers has to look and feel of a Terrence Malick film, all wide, wide shots of Coffey and gang slowly, slowly making their way across the vast expanse of sunlit fields in a sleep-deprived haze, with occasional cutaways to the details of the landscape. It sticks in the head partially because of its overwhelming beauty, but largely because of its refusal to play by the monster movie rules. The answers to some of the narrative’s key questions are implied, but never fully tied up in neat bows. And most importantly, the notion of evil is not limited to the supernatural plane––it’s neither Burrower nor Indian responsible for the film’s final deaths, but someone allegedly on the side of the good guys. Conflict arises naturally from friction within the group as often as it’s sparked by outside forces. A key secondary character mutters the frustrated realization late in the film that “Nothing is easy.” It’s a one-line joke in a way, but in hindsight, after the plot threads are wrapped up as tight as Petty lets them get, it also seems like a sigh of existential discontent. It’s a sentiment that could be applied towards Burrowers chances of finding an audience: with no firm release date set (at least, not according to IMDb) there’s no telling if Lionsgate plans to shunt Petty’s project off the way they’ve done to Midnight Meat Train (and apparently plan to do with the bulk of their horror shelf stock going forward), or if they’ll recognize that there’s something here that elevates The Burrowers above the genre content that they’ve apparently come to find distasteful. Nothing is easy, indeed. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/9/22/35391.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/22/2008 4:02:55 PM
Body: It would be an exaggeration to suggest that JT Petty’s The Burrowers goes miles deeper than the hastily-dug graves that play a central role in its plot, but it’s nonetheless one of the more pleasant surprises of Fantastic Fest thus far. Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion. Though its narrative definitely turns on the actions of creatures from the unknown, said creatures turn out to be relatively easy to extinguish compared to prejudice and moral decay in the hearts of ordinary men. It plays less like a horror film than a Terrence Malick film, with a mythological MacGuffin designed to reveal dark truths about the men forced to deal with it. Coffey (Karl Geary), an Irish farmhand in the Dakota territories just after the Civil War, comes a-calling at the Stewart family cabin to ask the young, beautiful Maryanne to marry him. When he gets there, he finds blood, four corpses, and six missing women and children, including his wannabee fiancee. With the locals certain that neighboring “bad Indians” must have captured the women and taken them away, a rescue party is formed to hunt down the perpetrators and hopefully get the ladies back. The outlook is not rosy. Coffey asks a fellow searcher, the cocky Parcher (William Mapother), if he’s ever managed to get a woman captured by Indians back. “Not alive,” he admits. And though he’s heard tell of women coming back breathing, they always return fundamentally changed. As Parcher tells the teenage son of his own love interest, “Any Christian woman would prefer dying to capture.” The Territories are drawn at first as an expanse so barren that it’s almost devoid of mystery––there can’t be any threat out there except for various types of Indians, because if there were, there would be nowhere for them to hide. But through Parcher as a translator, they soon learn from a number of natives (hotile in verbiage when not actualy shooting to kill) that there is another menace out there, an insidious race of flesh-eating creatures called Burrowers. The Burrowers poison their victims, bury them in shallow graves and come back a few days later to feed. They predate the land wars between settlers and Indians––they were there first. As one Indian maiden puts it, the white men “killed all the buffalo. So they had to feed on something else.” With this bit of knowledge, the mission shifts a bit, but Coffey refuses to give up the search for his girl. This maybe what qualifies The Burrowers for its place in this festival more than its liminal horror cred: I’ve noticed that if there’s anything that ties Fantastic Fest films together beyond blood and guts, it’s the idea that the world is full of men who are a little different––a little more sensitive, either a little skinnier or a little fatter, a little smarter but also a little less capable of traditional macho dominance––who will do anything to get and or/keep a girl. For long stretches, The Burrowers has to look and feel of a Terrence Malick film, all wide, wide shots of Coffey and gang slowly, slowly making their way across the vast expanse of sunlit fields in a sleep-deprived haze, with occasional cutaways to the details of the landscape. It sticks in the head partially because of its overwhelming beauty, but largely because of its refusal to play by the monster movie rules. The answers to some of the narrative’s key questions are implied, but never fully tied up in neat bows. And most importantly, the notion of evil is not limited to the supernatural plane––it’s neither Burrower nor Indian responsible for the film’s final deaths, but someone allegedly on the side of the good guys. Conflict arises naturally from friction within the group as often as it’s sparked by outside forces. A key secondary character mutters the frustrated realization late in the film that “Nothing is easy.” It’s a one-line joke in a way, but in hindsight, after the plot threads are wrapped up as tight as Petty lets them get, it also seems like a sigh of existential discontent. It’s a sentiment that could be applied towards Burrowers chances of finding an audience: with no firm release date set (at least, not according to IMDb) there’s no telling if Lionsgate plans to shunt Petty’s project off the way they’ve done to Midnight Meat Train (and apparently plan to do with the bulk of their horror shelf stock going forward), or if they’ll recognize that there’s something here that elevates The Burrowers above the genre content that they’ve apparently come to find distasteful. Nothing is easy, indeed. Originally posted on:SpoutBlog
]]>Mon, 22 Sep 2008 20:02:55 GMTSpoutBlogSpoutBlog on spout.com9/22/2008 4:02:55 PMIt would be an exaggeration to suggest that JT Petty’s The Burrowers goes miles deeper than the hastily-dug graves that play a central role in its plot, but it’s nonetheless one of the more pleasant surprises of Fantastic Fest thus far. Beautifully shot and tightly scripted, it’s the rare Hollywood genre film (bought and paid for by Lionsgate) that’s more concerned with human relationships and behavior than the mysterious supernatural forces that sets the action in motion. Though its narrative definitely turns on the actions of creatures from the unknown, said creatures turn out to be relatively easy to extinguish compared to prejudice and moral decay in the hearts of ordinary men. It plays less like a horror film than a Terrence Malick film, with a mythological MacGuffin designed to reveal dark truths about the men forced to deal with it. Coffey (Karl Geary), an Irish farmhand in the Dakota territories just after the Civil War, comes a-calling at the Stewart family cabin to ask the young, beautiful Maryanne to marry him. When he gets there, he finds blood, four corpses, and six missing women and children, including his wannabee fiancee. With the locals certain that neighboring “bad Indians” must have captured the women and taken them away, a rescue party is formed to hunt down the perpetrators and hopefully get the ladies back. The outlook is not rosy. Coffey asks a fellow searcher, the cocky Parcher (William Mapother), if he’s ever managed to get a woman captured by Indians back. “Not alive,” he admits. And though he’s heard tell of women coming back breathing, they always return fundamentally changed. As Parcher tells the teenage son of his own love interest, “Any Christian woman would prefer dying to capture.” The Territories are drawn at first as an expanse so barren that it’s almost devoid of mystery––there can’t be any threat out there except for various types of Indians, because if there were, there would be nowhere for them to hide. But through Parcher as a translator, they soon learn from a number of natives (hotile in verbiage when not actualy shooting to kill) that there is another menace out there, an insidious race of flesh-eating creatures called Burrowers. The Burrowers poison their victims, bury them in shallow graves and come back a few days later to feed. They predate the land wars between settlers and Indians––they were there first. As one Indian maiden puts it, the white men “killed all the buffalo. So they had to feed on something else.” With this bit of knowledge, the mission shifts a bit, but Coffey refuses to give up the search for his girl. This maybe what qualifies The Burrowers for its place in this festival more than its liminal horror cred: I’ve noticed that if there’s anything that ties Fantastic Fest films together beyond blood and guts, it’s the idea that the world is full of men who are a little different––a little more sensitive, either a little skinnier or a little fatter, a little smarter but also a little less capable of traditional macho dominance––who will do anything to get and or/keep a girl. For long stretches, The Burrowers has to look and feel of a Terrence Malick film, all wide, wide shots of Coffey and gang slowly, slowly making their way across the vast expanse of sunlit fields in a sleep-deprived haze, with occasional cutaways to the details of the landscape. It sticks in the head partially because of its overwhelming beauty, but largely because of its refusal to play by the monster movie rules. The answers to some of the narrative’s key questions are implied, but never fully tied up in neat bows. And most importantly, the notion of evil is not limited to the supernatural plane––it’s neither Burrower nor Indian responsible for the film’s final deaths, but someone allegedly on the side of the good guys. Conflict arises naturally from friction within the group as often as it’s sparked by outside forces. A key secondary character mutters the frustrated realization late in the film that “Nothing is easy.” It’s a one-line joke in a way, but in hindsight, after the plot threads are wrapped up as tight as Petty lets them get, it also seems like a sigh of existential discontent. It’s a sentiment that could be applied towards Burrowers chances of finding an audience: with no firm release date set (at least, not according to IMDb) there’s no telling if Lionsgate plans to shunt Petty’s project off the way they’ve done to Midnight Meat Train (and apparently plan to do with the bulk of their horror shelf stock going forward), or if they’ll recognize that there’s something here that elevates The Burrowers above the genre content that they’ve apparently come to find distasteful. Nothing is easy, indeed. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/western/MemberTagFilms.aspxwestern
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