A faded ''It girl'' suffering from a horrific schizophrenia disorder decides that it's time for one of her personalities to lose her virginity. Whether her abuse problems first started in her teen's, from her celebrity modelling days - or was she abducted by Aliens; nobody knows. The idea of the 'It girl' was first personified by actress Clara Bow in the movie 'It' (1927) which helped usher in the age of the flapper girl in the roaring 20's, also personified by wild child Louise Brooks, strong, opinionated and sexy. The role of the vivacious, sexual, youth-quake is something every teenage girl must live up to, and tame due to the countless magazines and music videos depicting this type of personality Over the years there have been many 'It girls' who have captured our hedonistic times, such as Kate Moss, Twiggy, Cornelia Guest, Paris Hilton, Kendall Jenner... but there are even more examples of tragic lives cut short due to the pressures and seductions of fame, such as, Gia, Donyale Luna, Tara Palmer-Tomkinson, Peaches Geldof and Edie Sedgwick.
Teddy Bears Live Forever captures the life of a faded 'It girl' called April who is suffering from multiple personality disorder. House bound she struggles with the voices in her head which brings to light her severe traumas. Even though April is not a virgin, one of her personalities is; and that personality, called 'Sam' wants to desperately lose her virginity. Watch as April sets out on her journey in order to quiet down forever the diabolical voices in her head. Teddy Bears Live Forever will be released in 2019 Official Website
Cult Hero, the Lizard King, Enfant Terrible, Mr Voodoo Trick, but what is certain is that filmmaker Fabrizio Federico is helping widen a generation gap in
the film industry by doing what isn't expected of a movie director.
He releases
his films for free online, used mobile phones and CCTV cameras, casts street-superstars and doesn't use
scripts or relies on funding to create his films; in the process, retaining
100% creative power over his movies. He has always insisted on his own
talentlessness, presenting it as a challenge to anyone who thinks they could do
better. His mystique not only comes from his popstar good looks and outspoken
views, but from the fact that his films appeal to the tribal magic that lurks
in the shadows of cinemas hidden frames. It's primeval & occult qualities
that he and filmmakers such as Kenneth Anger, Dennis Hopper & Gaspar Noe
have also embodied. The raw sour milk of human bitterness from these directors of adult fare. It is a very seductive juju charm that the mainstream has
long been weary of.
The manic
and rowdy quality of Federico's films stem from his cinema manifesto Pink8
which has spawned an international collective of outsider filmmakers who are
seeing the manifesto as a creed for a radical new step for a purer form of
cinema. Federico never studied how to make films, learning everything from
ground zero with some heartbreaking consequences, ''I lost my 1st film because
my computer blew up; damn Dell computers, had to start all over again from
scratch.'' His film Pregnant focuses on technology addiction in the 21st
century. The mass hypnosis of a generation, as we witness each character's
inner spiritual stagnation and mass disconnection from society. His debut
feature film Black Biscuit is a portrait on wild youth and its lust for sex,
drugs and money. His psychedelic editing & rhythm convey a shamanic quality
to his films. Disorganised but focused, a slightly awe-struck air, his films
are completely improvised. ''What appeals to me is the beauty and terror of
particular vibes, from there I streamline each films path.''
Trouble also seems to follow him like a
manic flame. Mainstream critics loath his films, to the point where Federico and film critic Chase The Whale have developed a long standing feud regarding
critical hack jobs. And during a live radio interview in America, Federico was
involved in a on air argument with several film critics after they had failed
to watch his film. But his confidence and fearless attitude may originate from
the fact that he survived a house fire at the age of five. ''I tasted deaths
appetite at an early age, the world has seemed like an illusion ever since.''
There has also been rumours that he has sold his soul to the devil.
Challenging censorship his footage has
been confiscated by the police because of his helter skelter commando style
shooting tactics. But all this stems from his pure love for cinema. ''To me
film is like a myth, a collection of all of the strengths and failings of
humanity, magnified for us to figure out.''
Federico has currently set up the
Straight Jacket Guerrilla Film Festival, he also starred in his
first movie Kingdom of Shadows directed by the movie duo Clara Pais
& Daniel Fawcett, and has also created a Ziggy Stardust style
alter-ego of a film director from Mars, called Jett Hollywood. His new film LOON was released on Halloween 2017.''I enjoy the beauty of life, but Im also turned on by the dark absurdity and surrealism that life has to offer. Its a circus.''
''So, I really don't see the point in this film stuff anymore. I actually just cried for the first time out of frustration, as in, I didn't feel the emotions I've ever felt while crying, but tears still suddenly poured out of me in public. I just can not take this fucking shit any goddamn more. I just can not. Things have gotten so ridiculously bad.
Before you say that I'm just complaining, take a minute to scroll my page. 95% of the time I am simply promoting my work, keeping my spirits up. Like I've been doing for 30 goddamn years ever since I started pursuing this ridiculous dream. So, either you are only attracted to me complaining, or Facebook only shows you when I am. And I don't even call it complaining, I call it calling out all the fucking bullshit in this industry and this world. But call it what you want. I just do not see the point in any of this, anymore.
Everything I do gets deleted these days it seems. Everything I've done this week has just been deleted. I can't post in a film facebook group about my films without it being blocked by facebook. I can't comment on a film I fucking made in a facebook group. Seriously??? I can't post casting notices on IMDB or funding notices on IMDB without it disappearing hours later. They say it's because I can't try to raise finds on there, but that's half of what I see on there. And why can't I post casting notices then??? I can't post castings in casting websites because they don't like the descriptions of the films. I can't get my films onto Amazon or other sites because they have nudity or violence (when mainstream Hollywood TV is filled with this shit). I can't even edit my films to have non of this stuff, cause they still end up deleted by these companies. Now Amazon is fucking indies even harder in the ass by making them generate 1/2 a million fucking hours of views in order to keep their payments. If they don't they loose over half of what they currently make. Thanks Amazon, you crooks.
I can't even keep 13 year old youtube accounts (13 years of uploading) with PSAs on them about helping people because some fucking how they're not appropriate. Look at what's on youtube!!!!!!!!!!!!!!! Cops killing people, beheadings, anal waxing, etc, all with billions of views, but I can't have my own censored movie trailers up there, nor videos about how to help people?????????!?!?!?!!!!! And yet I get ripped off by people on youtube itself nearly ever day for over a fucking decade!!!
I can't have private screeners on Vimeo without them deleting my entire accounts because they don't like the content, but they have Gasper Fucking Noe films on there, with cum shots at the camera uncensored!!!!!!!!!!!!!!!!!!
Back when I first started, I actually had a little money coming in. Not much, say 10k, which of course all went back into promoting. But at least it was 10k I had that I didn't have to spend myself, all coming from DVD sales, just DVD sales.
But then ya'll killed the video store (thanks a fucking lot), and it all became digital, and since then I haven't been paid one fucking penny. Not one fucking goddamn penny has come from digital. And on top of that, I can't even work my own fucking ass off for no pay without facebook, youtube, vimeo, and all these other cunts deleting my shit left and right. Seriously...
what is the goddamn mother fucking point?????????????? Let's just delete all art and censor everything. I'm really totally lost and stuck right now. Why bother getting up? Why bother working on anything? Why fucking bother typing this? It's just going to be deleted with the click of a fucking button like it never even existed. And that has officially driven me completely mad.
I have nothing left. I actually started laughing, between crying, because I'm that far gone. Thanks to all you digital overly sensitive fucks who have completely killed art.
The hypocrisy of the media also puts vomit to my eyes. I've spent 15 years or whatever trying to get indiewire just to mention one of my indie films, nothing. It didn't matter when I made the lowest budget film ever to receive major distribution. No response. It didn't matter when I broke my own record, twice! No response. It didn't matter when I got MTV and LA times and Variety to review my films, no response. It didn't matter when I made the first film in history to include more than 100 directors (and an indie film), no response. It didn't matter when I made a transgender based film with a real transgender actor, also one of the youngest (or maybe the actual youngest), to co produce and co write and co direct, no response. But I did get coverage in all of the major news stations all over the world, once, just once, when it was nothing but fucking lies about me, all designed to make the world hate me for 48 hours (which unfortunately for me, it worked). Nothing but thousands upon thousands of death threats and hater comments, hundreds of people telling me to go kill myself and much much much worse, and the worst shit I've ever been called in my life (and I thought I went through severe bullism in school, fuck). But I can't get one goddamn mention from these people, not mother fucking one, for 30 years of hard work I put in. It's all such horse shit. Fuck 'em all.
Thanks for all the support (aside from the big gulp of people who unfriended me just after posting this). All honestly though, I've tried most of this advice 1k times or more. Like Rocky going after Apollo, only I got nearly a decade on Rocky's age andI've fought Apollos of this world about 5k times. I just don't give a fuck anymore. I'm broken. Even if I won I wouldn't enjoy it I've taken so many beatings. I'm numb. A vegetable. I never cared about being on top. Shit, if I made 25k a year doing what I do I'd be fucking thrilled (25k a year is goddamn horseshit, but I'd be totally cool with that). Working my ass off 24/7, always having to be on call, and not only not getting paid for it the past 30 years, having to put what money I've never even had into all this is just bullshit. Now with the internet, it's so much worse. It's like you're always always always working, but I never get shit. If I try to take just two days off from this non paying job I fall behind and/or some people hit me up 20 fucking times to get my to respond. It's exhausting as fuck. And there's no hope left. It's not just that this industry is hard, people and companies have killed it, running it into the ground. I grew up in a distribution company for 20 years watching them adapt until they practically crumbled. They had hundreds of employees, transitioned from Laserdisc to DVD and Bluray. Then once the internet hit, they fired nearly every fucking body. My dad lost his job from them after 20 years at that place. Many people from there haven't worked a regular job in the years since. Netflix and Amazon have killed the chance of indie filmmakers (real indie filmmakers) making money. There was a day when indie films had chances (like the 90's). Now, an indie film is a film that has huge stars. You can't be Edward Burns, Darren Aronofsky, Christopher Nolan, Kevin Smith, etc today, and make a film that has nobody you ever heard of in all the roles, behind the camera, the production, etc, and with nearly no budget. Now an indie film is something starring Jennifer Lawrence who "decided" to make an indie film. There's no chance left for us. And you can't get people to help, like John Waters' days. If you're making something, especially if edgy, you can't get everybody to work for free...just for the excitement of making a movie. Surely not actors. You spend 5 years on a project, and an unknown upcoming actors won't spend 5 days without pay. I'm not talking about SAG actors, veteran actors (before everyone gets pissy at me again). I'm talking about unknowns, a group of people all willing to put in their time and creativity to make an indie film. Just doesn't happen anymore. Which is hilarious because then the people who have a budget, who actually have the fucking money, fire people like my dad and those who put in their time and dues for decades, and/or won't pay them shit for all of their experience. Everything's ass-backwards, those with experience and a great resume can't get shit, and those just beginning want it all without having done shit.
And on top of that, places like Amazon who ran indie film into the ground, are now cutting out 60% of the fucking pay they're giving (which is already shit), to indie films!!! Come the fuck on. And they censor the shit out of us. It's not that they censor everything, they're only targeting indies, the hypocrisy should get all these people gunned down to burn in fucking hell, it's sickening. I understand part of it is business, but if we ain't getting paid fucking shit, why should we sell out to them to make what they want?? It's not selling out if they're cutting our already shit royalties by another 60 fucking percent. So, we have to sell out, and not get paid, and not make the films or art we want. Yeah, sounds fucking great. It's not even art or cinema anymore, and it's not business either since we don't have any money coming in. It's simply...nothing.
This whole internet censorship thing is fucking pathetic and ridiculous. This is what makes me want to just say fuck it all. I know making it in film is hard, getting your film to stand out is near impossible (but it once was possible - I did it, I made the fucking films that did it after 22 years of trying, but that kind of chance dried up just a couple years later with the death of video stores). Sp, if you can't even put your goddamn fucking film out how do you ever have a chance??? It used to be, you had a chance. If you spend years on a film/pushing it then you might finally get distribution, then with that you get into stores and immediately into viewers eyes (automatic massive promotion), and from there it's all a matter of do they buy it (and if so you get money) and do they like it (and if so you can feel extra good and maybe use that to get people to have faith in getting you money to make another film, or at very least already have distribution in route for your next film). But now with video stores gone, it doesn't matter if you spend years trying to get distribution, the indie distributors can't even get you into stores, because hardly any fucking stores even exist anymore. And they can no longer get you on Netflix (the place that once prided itself on having films like ours and helped run video stores into the ground), because now that Netflix is big, they basically said "fuck you" to real indies. And you can't get onto what was supposed to be the savor of indie films and self distribution, Amazon, because they turned into the biggest pile of art censoring scum bags on the face of the internet. My first film, which got into thousands of video stores, got a whole whopping third of the film cut out of it to get it onto Amazon Prime (a fucking third of the goddamn movie, which still didn't even matter, they still booted it). That wasn't even my film anymore after the severe editing, but that didn't even matter. My 4th film got booted (that was the real beginning), from companies that actually prided itself in carrying adult films, because the credit card companies didn't want films like mine (art films which had about 5 min of nudity, wow oh wow, yet adult film/anal penetration was fine, but an arthouse film with a few minutes of nudity, "ohhhh shit, that's gotta go"). Now indie distributors tell you, and this coming from horror and exploitation distributors, that they don't want any nudity (meanwhile Hollywood turns TV into softcore porn with shows like Shameless, Game of Thrones, ect). And now even violence in indie film can get us booted. What's next, the word "fuck" or even "damn" (are we going in reverse or what)? Pretty soon, speech, literally, will be banned. And even if you comply they boot you. I had zero nudity on my youtube channels. And I got 20 years worth of channels deleted without any warning whatsoever. T-W-E-N-T-Y goddamn fucking years of uploading gone with the click of their fuckhead ass button. I obeyed their shit rules, and still didn't matter. My films got hacked to shit for Amazon (to the point I wouldn't even want anyone watching them now anyway) and they still get booted. I set my Vimeo screeners to private for critics only, and even Vimeo (which allows fucking solo explicit porn) deletes my entire channel without warning. And now on facebook, I can't even promote my fucking films in appropriate film groups, without getting booted. I can't even pay to have a promotion on my own goddamn mutha fucking horse shit cunt page, because somebody had some 5 dollar red liquid on their face in one of the 10 pictures (ohhh, so fucking violent). So, that is my argument. Yes, making a film and getting it out there is damn near impossible. But fuck you Amazon, fuck you youtube, fuck you facebook. If we can't even upload, promote, sell our fucking films that we spent our shit whole life on, then what is the goddamn muther fucking point in any of this horseshit??? The only way is to go back to doing what I did 20 years ago, before I ever got distribution, was make a shitload of VHS tapes, keep them in a backpack, and go sell them to drunk people coming out of bars. That's what it's come to, that's what the internet gave us. Fucking bullshit. We need physical media back. Even if our film somehow gets distribution, is pussy ass enough to be PG rated, and gets on these streaming sites, the digital pay is about 1/1000th of the pay as a single DVD was (all of the money I made was from the first 7-8 months of films I made, zero has been made on a single film in the 9 years since once video stores went out). So, instead of having to sell 10k DVDs to get around 5-10k from royalties, you would need about a fucking million downloads/full viewings (which is impossible pretty much) from legit streaming sites, just to get that tiny shit bit of money. Money you probably already long spent of your own just trying to get the fucking thing made. This is why filmmaking is bullshit. At least with acting, all you have to do is show up and act. With writing, just write the fucking thing. With singing, just sing the damn song, play the fucking guitar. I wish I would have just done that, that's all I ever wanted the first 15 years I was pursuing this, was acting and writing. The idea of directing repulsed me. I should have stuck with that. Because as an indie director, you end up having to also usually shoot it (which means lean how to use camera, lights, etc etc etc), edit it (which means effects, color correcting, fonts, design, etc etc etc), score it, design the promotions, make the promotions, cast it, produce it, when actors don't show (as they often don't) then you have to cast off the street, or act yourself (on top of all the other shit you're already breaking balls to do), then the script goes out the door, so you have to constantly write it on the spot, finance it, etc, etc. All to get deleted by these cunt websites in the end. And on top of that you have this Youtube generation inspiration of wannabe self made star actors who want to tell you how to make your fucking movie that you spent years on doing everything on and they spent a couple fucking days on. Or they think you're making money (ha ha ha) and try to sue you. At least with physical media, the haters have to go through the effort to burn your shit, which is against the law if they didn't buy it, so they have to buy it first, and then when they buy it the distributor makes more, so you just made money, and probably got free promotion. Now it's horseshit, they just hit click, on you're gone without anyone knowing you were ever even there.''
Live! Tonight! Sold Out!! is stuffed, collage-style, with numerous moments of audience baiting: Cobain humps a camera and then hocks a loogie onto the lens at a festival in Denmark, gets the shit kicked out of himself by a bouncer after a poorly-timed stage dive, and the band wrecks the stage after playing “Territorial Pissing's” instead of “Lithium” on England’s uptight Jonathan Ross Show. After a clip of Cobain correcting an interviewer who describes the band’s live set as violent (“It doesn’t have anything to do with violence. It’s about fun. Pure fun.”), the film closes with a montage of the band destroying their instruments at such coveted gigs as the Reading Festival and Saturday Night Live. It’s as tempting then to look at Live! Tonight! Sold Out!! as a document of Cobain unleashing his personal demons (it could make a cool double-bill with The Devil & Daniel Johnston) as it is to pontificate about Nirvana’s placement in the canon of Western culture. Underground filmmaker Fabrizio Federico cites the film as a big inspiration on his movies, ''I'd come home from school and watch it all night long and just marvel at the editing style, just pure anarchy. It's as if you're watching a Nintendo terrorist news bulletin. I miss all that 1990's home camcorder footage, it's so scratchy''.
Conceived by Cobain as a kinetic document of the band's 1991-92 world tour, but completed by bandmates Dave Grohl & Krist Novoselic, along with director Kevin Kerslake, the filmcareens through the band's early catalogue and, of course, their earth-shaking platinum sophomore smash, 1991's "Nevermind," interspersing clips from countless television interviews and home video antics amid searing live performances of such now-classic tracks as "About A Girl," "Smells Like Teen Spirit," "Polly" and "Come As You Are." Above all else, what shines through most inis the band's tireless sense of humour; faced with a soul-crushing schedule and a frenzied media descending upon these three twenty-somethings in an effort to decipher the appeal of the then-newly tagged "grunge" phenomenon, Grohl, Novoselic and Cobain all maintain a wry detachment from the insanity swirling around them. Cutting up on an airplane or goofing around backstage, you clearly see that these were men not comfortable shouldering the weight of an entire generation.
Released in the mournful months after Cobain allegedly took his own life in April 1994, the filmfunctions as a companion piece to the chilling "Nirvana: MTV Unplugged in New York," which was released two weeks prior to the documentary, providing a glimpse at both ends of the band's musical spectrum. The incandescent flare which lit up popular music in the early Nineties, only to just as quickly be snuffed out, the music and message of Nirvana still resonate to this day. Like the man says: here we are now, entertain us. OFFICIAL SITE
How’s the Straight-Jacket Guerrilla Film
Festival impacting the world of indie
filmmakers? It used to be that Indie filmmakers felt
like they needed a film crew, a script and
great lighting equipment, not to mention
an expensive camera to make a decent
film. But now movies are being made
with camera phones and they are
destroying Hollywood by stealing their
audience, because its a movie now being
made to fit in your pocket.
Because of internet distribution things
have changed drastically and the future
of cinema is streaming films for free on Youtube and Vimeo. Which is really
inspiring to others who dream of making
films one day and with our festival. With
the Youtube and Vimeo era of today film
festivals like ours, we are giving an
opportunity to those filmmakers who
take the same risks Fabrizio Federico
and I do. That’s why we started this film
festival to begin with so that struggling
film makers get a chance to participate
in an innovative showcasing system.
Now, you don’t need to have auditions
or worry about all the fuss behind
creating the perfect feature film or music
video because our festival promotes the
DIY mentality that comes along with
guerrilla film making, street culture that says I will take any risk necessary to
capture my solace vision and it doesn’t
have to be perfect to be accepted. This
will endorse the individual and freedom
of speech with films that aim to fail but
most of all included the Punk
Cinema and Anti-Art Film generation
that believes mistakes are beautiful and
perfect, that continuity is wrong and film
schools are poison. We hope to rescue the
underdog running into these dilemmas.
That’s what makes the PINK8 manifesto so
great, its the utter essence and roots of
Punk Cinema; directors like Fabrizio
Federico, Lars Von Trier, Harmony Korine
and myself among others who have
already proven taht you don’t need to do
things by industry standards, whatever
that means because now you don’t need
anyone to make a film but yourself and a
phone camera. Indie film making is
headed towards a wide awakening debut
of transgressive films. I mean it already
has hit the wall of films of today that
guerrilla film festivals like ours are
taking over by emptying the sardine
seats at the box office. When you think
about it directing films should be a
luxury not something you must do to
make money off to survive as a human.
It takes all the true virtue and purpose
out of film making for the self and if its
money your after your obviously in the
wrong business, everybody knows that.
Even those million dollar budget films
that are being made lose tons of money
from the lack of spectators who refuse
to spend a dime on a movie, especially
now that you can just download any
movie you want online before it even
comes out in the theatre. What kinds of feature films have been
submitted over the past years? Well the first year we ran the Straight-Jacket Guerrilla Film Festival I was really
excited because it was going to be my
first time ever participating in a film
festival like this. I had been rejected so
many times after paying money to
submit my films just to be excluded
again and again. Then with Straight-Jacket I found my audience and I knew i
had to take advantage of the opportunity
I had to showcase in a festival that
Fabrizio Federico and I had directed.
Straight-Jacket was now giving me a
chance I had never had before. My film
Nigga Booty Nights has been
showcased, the film was extremely
rude, controversial and racist when
compared to the analogies of modern
day slavery during the time Obama was
in office. It was the first time any
guerrilla film festival had showcased
hybrid video art and experimental film
like this as one and the same ever
before. Its rare that festival judges are
willing to take such a big risk at
showcasing something so rare and
unique like this because by showing
something like this it meant you were
taking the risk of losing your audience
because what you were showing was
not “popular” or accepted as “good
filmmaking” and we welcome all types of
audiences, critics and filmmakers of the
everyday people who just want to see or
do something risk taking. The second
year we ran the festival the award
winning film for most proactive film was
Peacock directed by Kurtz Frausun, a
film maker out of Dallas, Texas, a
guerrilla film maker who pushed the
boundaries of what was art and
questionably pornography. When we
screened his film some spectators were
appalled by the effort we made to
publicly screen such a pornographic
images at a public venue that was open
to the public. This year I’m excited to
see what kind of submissions we get in,
its always a challenge picking out the
film selection after spectating the tons
of submissions. The festival has received a lot of
criticism from the biggest festivals
because Straight Jacket offers free
submissions to anyone with a feature
film or music video, why such criticism? Typically the reason people start film
festivals is to make a pretty penny off
having some kind of outlet for the many
desperate filmmakers dying to get into a
film festival. These millions of
filmmakers compete with hundreds of
thousand films every year. Thats not
what we came here to do, its free
because we care more about generating
a new common audience that
caters to the DIY culture and everyday
person, not just for critics but for all
types of film makers and spectators. We
feel money shouldn’t keep anyone from
submitting their feature film or music
video and allowing them to have a
chance to be a part of our showcase it
generates feedback. We depend on the
future of cinema and film distribution
that’s why we choose films streaming on
Youtube or Vimeo so that way our
audience isn’t putting a price on these
priceless films that are self actualising films and not as though it were a form of
ordinary entertainment. Its more like a
form of junk film evolution that has now
become a part of the Ant-Art Film genre
for DIY guerrilla and junk film street
culture.
Whats better about having an online film
festival? Those who get accepted into our film
festival do not need to travel across the
world and they don’t need to go broke
just to participate in the film festival just
to show up for a night to
partake in their premiere. Instead they
can browse among the entire film
selection in the privacy of their own
home and see how other film makers
are taking the same risks they are. Its
really a muse to compare the different
film making styles around the world and
how they interpret experimental and
guerrilla film making styles with a new
care free attitude. We hope to rule the
the world one day by becoming apart of
the future of cinema. Also our film
festival takes the pretentious mentality
away from who and who cannot obtain
access to our film selection, its simple
anyone who has internet access can
view our festival during our screening
dates. This means the audience is able
to watch our films for free without
having to leave the comfort of their own
home by not having to spend hundreds
of dollars to spectate great creative
films. Of course its an acquired taste but
this is the future of film entertainment,
free online streaming and by beating the
corporate costs we are moving up in the
industry because the market for
homemade films are becoming more on
demand to the you tuber who has more
fun watching real people and street
super stars who aren’t so pretty, perfect
or over glamorised but instead more
natural and realistic yet so convincing
and so believable it is what makes films
more authentic thus more desirable by
more to be seen just like the boom of
reality TV, its what makes you feel like a
human again, it helps people accept
themselves for who they are not how
perfect they must be.
What is the difference between Anti-Art Film & Anti-Film? Anti-Art Film doesn’t actually exist its
just something we could consider a
new genre and assumed to be related
to the Dada movement and or related
to the antithesis of the Art Film genre.
Instead of the Anti- Art film having a
niche audience like Art Film should
have it would attract a larger more
common scale audience from the
masses as though it were like fast food
cinema not being produced for
financial gain and of course instead of
it being a serious work of art it would
appropriate junk film aesthetics that
remain part of the junk aesthetic
discovery, during the Dada movement
when artist began to work with found
objects using quotidian materials as
the ultimate punk attitude questioning
the definition of art exactly assuming
there might not a be a definition at all
to begin with. Anti-Art Film is just the
after Neo-Dada experience following
the Dada movement in the era of
Fluxus. Fluxus, not a movement rather
a radical happening most considered a
movement although to some Fluxus
artists like Yoko Ono refused to
agree that Fluxus was a movement but
more of a phenomenon that emphasised ideologies stated in the
Fluxus manifesto, a manifesto which a
group of many kinds of different
artists from around the world
published together becoming the most
radical era for art in the 60’s at the time.
A time where conceptual artists were practising interdisciplinary forms of
research for their art making in order to
resolve their experimental process. I
think anti film is more comparable to
punk film and the punk film making
mentality being made today during the
Punk Cinema movement, but just the
way Fluxus was and was not considered
a movement to some, anti film can or
will not be considered a movement to
everybody rather some may argue the
movement may or may not continue to
be Punk Cinema. Anti-Art Film is a
newly discovered genre that is just now
coming to the surface of guerrilla and
experimental film making discussed as
the repercussions of anti art that occur
regarding the study of anti film making
styles.
Movie Soundtracks are what truly elevate a film to a higher level during a scene's climax. Underground filmmaker Fabrizio Federico chooses his song-mix; even though most of the songs have not yet seen the light of day in a flick yet. Velvet Underground - Heroin T Rex - Metal Guru Limp Bizkit - Break Stuff New York Dolls - Who Are the Mystery Girls? Pixies - Debaser Crowded House - Dont Dream Its Over Sid Vicious - My Way Oasis - Hello Snoop Dogg - Murder Was The Case Iceage - Ecstasy Robert Johnson - Me & The Devil Blues Eminem - Stan Dion - Runaround Sue Wu Lyf - Heavy Pop The Doors - Light My Fire Pink Floyd - Bike The Ronettes - Be My Baby Van Halen - DOA Lil Peep - The Brightside Black Sabbath - Black Sabbath Blow Monkeys - You Don't Own Me Elvis Presley - Jailhouse Rock The Vines - Get Free Led Zeppelin - Dyer Maker/Dazed & Confused Public Enemy - 911 is A Joke George Michael - Careless Whisper Rolling Stones - 2000 Light Years From Home Chet Baker - My Funny Valentine Whitney Houston - I Will Always Love You Guns & Roses - Welcome To The Jungle Joy Division - Colony Lee Scratch Perry - Cow Thief Skank Berlin - Take My Breath Away Righteous Brothers - Unchained Melody Frank Ocean - Wiseman David Bowie - Rock & Roll Suicide
By 1972 Marc Bolan was a genuine Godhead, he was Camelot! The ultimate dandy, an undeniable pop star worth his salt, the perfect blending of wild 50's rock & roll and 60's fey underground cool. Marc was tapped into the teenage zeitgeist like few other artists have ever been, producing some of the greatest songs of the 21st century. His trajectory was reaching a crescendo and It was around this time that Ringo Starr saw an article proclaiming ''T Rex are bigger than the Beatles''. With loads of money and his own film company he decided to get involved in documenting T Rextasy at it's prime. ''It's one of my favourite films, I love it so much, it's such a huge inspiration on how I make movies, I just adore how they didn't use a script, it was all instinctive and fun... pure heart'' says filmmaker Fabrizio Federico. Born To Boogie is a surreal Fellini-type film, for starters, the Wembley concert (March 18, 1972) was going to be Marc's coronation, 2 shows in one day, a 5 camera shoot in order to capture every bit of the excitement, guitar turned up to 11 and with minimum stage production. All that was needed were those songs. Marc was a terrific showman, he had chutzpah, peacocking and strutting his stuff while wearing a T-shirt with his own image on it, plus 10,000 screaming kids going ape-shit There was a pungent smell of girls wetting themselves cose of the sheer Dionysian excitement. There's a moment in 'Baby Strange' where the hysteria is climaxing and descending into a riot, you see the police keeping the kids back, and the acoustic set is just gorgeous, 'Spaceball Ricochet' & 'Cosmic Dancer' shine on, and when Marc throws out the tambourines and attacks his guitar with it during 'Get It On' you can feel the stadium shake.
And this is just the concert, Born to Boogie has some of the greatest characters you will see in any rock movie - a man dressed as a doormouse (Ringo) driving a red convertible, with a top hatted Bolan with a fly squatter, looking like a glam Willy Winka. A midget materialises and eats a rear-view mirror, then you get an all-star jam on 'Tutti Frutti' at Abbey Road studios with Elton John, & Ringo jamming with Marc and Mickey, later even perched in a piano while rocking out to 'Children Of The Revolution'. There's the funny retakes of the fluffed ''Some people like to rock'' scene on the airstrip and the famous Tea Party scene (filmed at John Lennon's house) with a bemused Catweazle playing a butler, surrounded by frisky nuns and Mickey Finn looking like Dracula covered in jam, as Marc jams an acoustic medley with a string section in whiteface. The film is terrific and shows the apex of Marc's career, everything came true at that fateful concert, no performer has had this impact since maybe Kurt Cobain and the feeling of Glam lives on and it's main lesson is to be yourself in life's erratic magical mystery tour. **(Watch the Full Movie Here for FREE)**
Unorthodox independent films are the unsung life blood of the film industry, they have the wildest ideas and set the trends. They also have an intimidating and thrilling aura that mainstream films lack; a unique and sublime revolutionary undercurrent. These film auteurs are independent because they cannot stand to make the films they truly want within a system they despise. They live by their own vision and are stubborn, driven, talented, crafty, observant and tender all at the same time. Taking risks and inventing new characters that are from the margins of society has never been Hollywood's main cultural demographic. Budget limitations mean nothing to filmmakers like Fabrizio Federico, hoodwinking is part of the game, and they are driven to tell their negative pick-up fables, ''I was stabbed with a fork while filming but I was so in the zone that I didnt feel a thing''. Fabrizio has a desirable decadence mixed with an artistic atmosphere ''I like to put ice cubes in the actors mouths if I want a certain reaction''. His hippie, freaky teenage upbringing of moving countries has impacted his gift of the gab and his sense of adventurousness. ''When I was a kid I would get all my village friends to pretend to be the Ex-President bank robbers from the movie Point Break, I was Ronald Reagan. That's when I became a filmmaker''. Federico appears to have two quite distinct personalities co-existing (the dysfunctional filmmaker and the blissed-out stoner) his bohemian lifestyle puts him at odd's with authority figures ''I watched a lot of surfer movies and street films as a teenager like Midnight Cowboy, Panic In Needle Nose Park, Another Day in Paradise and I always rooted for the bad guys''.
Some big themes come up in Federico's work such as injustice, soul sacrifice, addiction and strangelove. He see's underground and experimental cinema as a force to be appreciated by a bigger international mainstream audience. ''I like the idea of treating the audience to a chaotic, compelling aesthetic, to scramble their brains. I want to show them an uncomfortable time, I feel they can take it. They are not as innocent as they look.'' Loon has a random mix of stoned, catatonic moments, mixed with subliminal Kubrick messages, which then switch to troubled intimate teenage situations in bedrooms, somewhere their parents cant hear them, ''the film is just a glorious unmade bed.'' Most importantly the film is fun and trashy but intriguing in a deeper way, full of nonlinear narlyness. At the centre lies the films Dismaland pop-culture, main character Charlie Sheen is a petty thief, tied in a folie a deux relationship with his sinister older cousin Georgia. Suddenly his chaotic life style reaches a climax, ''this movie will make you take your mom to court''. Authenticity of expression is a non-actors main virtuosity, meaning they are in the NOW, you can call it Zen filmmaking, they dont care about pretending to be someone else, there's no strings attached and they definitely dont give a fuck about the directors vision. But they are self-serving to express themselves, knowing that this is the only movie they will ever be in. Sometimes they use real drugs on camera to get in touch with their anxieties and phobias,and the effect is so voyeuristic it's uncomfortable viewing. Loon is his 3rd feature film in a body of work that is strangely cohesive and definite for such a new artist. His identity is so embossed boldly onto each film that it feels less like something he created and more like an extension of himself. In art-house films, ambiguity and uneasiness is much more involved on a personal level, The big plus from the filmmakers point of view is that he has completed the movie he dreamed of and since it was zero-budgetif the film bombs financially it doesn't matter. It's a long list of filmmakers living the cinema dream this way, film outlaws such as Jim Jarmusch, Larry Clark, John Cassevetes, Todd Haynes, Abel Ferrara, Alex Holdridge and all the way to the present day. Loon is an irrational movie, and a natural extension to this cannon of filmmaking.
