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.
Independent films are the life blood of the film industry, they have the wildest ideas and set the trends. The auteurs; 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. His hippie, freaky teenage upbringing of moving countries, which impacted his gift of the gab and a 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. 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. Authenticity of expression is a non-actors main virtuosity, meaning they are in the NOW. 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. An irrational movie like Federico's newest film Loon is an extension to this cannon of cinema making.
Independent films are the life blood of the film industry, they have the wildest ideas and set the trends. The auteurs; 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's fables, ''I was stabbed with a fork while filming but I was so in the zone that I didnt feel it''. Fabrizio has a desirable decadence mixed with an artistic atmosphere. His hippie, freaky teenage upbringing of moving countries, which impacted his gift of the gab and a sense of adventurousness. ''When I was little I would get all my village friends to pretend to be the ex-president bank robbers from the movie Point Break, I was Ronald Regan. That was the start of me as 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, which then switch to wild troubled intimate teenage situations in bedrooms, so their parents cant hear them. 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.
Authenticity of expression is a non-actors main virtuosity, meaning they are in the NOW. 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. 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. An irrational movie like Federico's newest film Loon is an extension to this cannon of cinema making.
I wish I could say no persons were harmed in the
making of this film, but that would be a lie.
The director was stabbed with a fork. Then, in addition to sustaining
some scrapes and bruises from a particularly physical scene, the lead actor was
admitted into a mental institution shortly after filming.
Now, make no mistake, I say this not with
derision, but with understanding. I myself have stayed at so many mental
institutions in my adult life, I could probably rate their menus for Zagat’s.
(By the way, don’t ever order the macaroni and cheese at Rush in Chicago.
Sometimes they make it with decent shell noodles, and sometimes they just make that powdered-cheese shit from the
box. You won’t know until you get it, and by then it’ll be too late.)
It’s kind of an interesting story how I was given
an advance viewing of Loon to begin with, and I suppose we have the
late-and-great Syd Barrett of Pink Floyd to thank for that. It was through a
Facebook group dedicated to the music of Syd that I first began talking to the
film’s creator and director, Fabrizio Federico. I’m not sure exactly why he
decided to accept a friend request from a weird American blonde girl on the
internet who wears too much eyeliner in her profile pictures, but for some
reason he did – and here we are.
At first I didn’t even think that was his real
name. I thought it resembled that of Italian filmmaker Federico Fellini so
closely, it had to be pseudonym. But no, to the best of my knowledge, Fabrizio
is indeed a real person. If anything he’s the Anti-Fellini, about as far away
from the chic and scintillating high-society classics as a filmmaker could
possibly be.
When I viewed his previous works, I got the
impression that – and I mean this in a good way – they were filmed on an acid
trip (which is no surprise, considering how I found him on a Syd Barrett page.)
It didn’t take me long to find out that Fabrizio abhors any kind of imposed
structure. He won’t even use scripts, which to me (with my stringent,
classically-trained literary sensibilities) was unthinkable. Quite honestly, I
never would have thought a completely improvised film could possibly be as good
as Loon is.
The opening credits feature a jarring, discordant
instrumental theme by the band Mao. Actually, the band recorded the entire
musical score at Aleister Crowley’s allegedly-haunted Boleskine House on the
shores of Loch Ness, wherein Jimmy Page of Led Zeppelin also resided for some
time. Even if you’re not the kind of person who believes in ‘vibes’ or
‘energy’, the otherworldly background themes will seem to echo from whichever
spirit realm you may or may not believe in.
From the first scene – which turns out to be an
idle teenager’s experiment with autoerotic asphyxiation – you will be
uncomfortable, even disturbed. And you should be. That’s the whole point. Then,
after the first few nightmarish images, you’ll be introduced to an 18-year-old
English kid named Charlie.
The interesting thing about Charlie is that he
is, with no disrespect, psychologically afflicted in real life as well as the
film; but he plays a fictionalized version of himself as he goes about his normal(ish)
routine. Actually, none of the characters were professional actors. They were
just people in Charlie’s everyday life who consented to being filmed in their
natural habitat, you could say.
But then isn’t it just reality TV? Or a
documentary? Well, no. I believe (and correct me if I’m wrong) that reality TV
is often carefully scripted, rehearsed, and molded unto what the intended
viewers supposedly want to see.
For that same reason, most documentaries are
meticulously edited to make some thesis statement, usually in order to appeal
to an audience of a certain ideology, usually political.
No, Loon has no target audience. It has no point
to prove, no statement to make, and no didactic school of thought to promote.
The film exists only to offer a glimpse into one man’s troubled mind, so that
his screams don’t die unheard. It recognizes no politics except for maybe
Thomas Hobbes’ state of nature.
Still, the background track resounds with
newscasts from the recent terrorist attacks on British soil, grounding the film
solidly in the present. Doom-saying news anchors, as they calmly describe acts
of violence and disorder, merely echo the pandemonium raging in the confines of
Charlie’s mind. The macrocosm is marginalized, and the microcosm is brought to
the forefront. To put it simply, compared to Charlie’s drawn-out mental
breakdown, global terrorism is merely an afterthought.
In contrast, the film has its lighter moments. It
features the comical Dismaland, an amusement park parody of Disneyland that is
actually a large-scale art installation. It features frowning personnel, bleak
scenery, and underwhelming rides such as a spinning mobile home. And yes, this
is a real-world place that actually exists. It also concretely illustrates how
even the happy-ish moments in Charlie’s life are laden with despair.
Still, Charlie proves himself to be endearing,
even adorably charismatic. You may laugh and shake your head at his antics or
deride his immaturity; but you might also secretly hope that he’ll succeed in
his naïvely unrealistic pursuits.
At first, it might seem like the antagonist is life itself - until it takes
the form of Charlie's psychopathic nineteen-year-old cousin. I'm told she's also a psychopath in real life, which even further blurs
the distinction between the film's characters and the real people involved. In
the story, Character-Charlie's feelings for her are anything but appropriate.
Unfortunately, she is too preoccupied with dildos of a certain ethnicity (also
a true-to-life detail) to reciprocate the attraction, leaving Charlie
frustrated and unfulfilled in nearly every aspect of his life. Still, his
youthful enthusiasm is undeterred. Perhaps it's a fortunate coincidence that
the entire film is shot in black-and-white, and therefore uncannily reminiscent
of another monochromatic character named Charlie. There's something sadly
Chaplin-esque about our Charlie's doomed optimism, oblivious to the cruel joke
that the universe itself seems to be playing on him.
Unfortunately, the real Charlie's misfortune didn't just end when they
finished shooting. I don't know the exact details of his real-life condition
(into which Fabrizio never inquired, in order to remain impartial and
unprejudiced while filming). Even if I did, I wouldn't disclose the nature of
his illness out of respect for Real-Charlie's privacy and that of his family.
If you're an especially sensitive person, I suppose you could argue that the
entire film is unethical and exploitative of mental illness. Yet, speaking as a
mentally ill person myself, I don't think that's the case. All who participated
in this project did so of their own free will, and knowingly consented to be
filmed. (Except for the guy who stabbed Fabrizio with a fork; he was left out
as per his own forcefully-expressed wishes.)
That being said, I'm going to break my own taboo on emotional
involvement to say that I really am concerned for Real-Charlie's well-being.
I'll say what people are supposed to say; that I wish Charlie the best in his
treatment and recovery, and extend my sympathy to him and his family; and I do.
But anyone who's really been through hell knows those words don't mean shit. No
amount of encouragement and well-wishing will ever be enough to free someone
who's being held captive by their own mind. I doubt Charlie will ever read this
in real life, and even if he does, I'd be the worst possible person to offer
any kind of advice on dealing with demons I can barely deal with in my own
life. All I could tell him is the same thing I tell myself: Never stop fighting.
When life kicks you down, get up and kick it right back. (Of course, I haven't
lived long enough to tell if that actually works, but I suppose I'll find out
eventually).
All subjectivity aside, however, I do believe this is a film of
considerable merit. It's as brilliant as it is dark and melancholy. I don't
believe anyone's made a better film on a budget of £100, which translates
roughly to $200. Yes, two-hundred dollars, you read that correctly.
"Perks of working with real people," the filmmaker told me.
"I just paid for the food and they were happy."
Other than that, he wouldn't reveal much about the film itself. When I
asked him if my interpretation of the Ouija Board scenes was correct, his
cryptic reply was, "It's multi-layered, so anything goes."
I still think my theory is the best possible one, and anyone who thinks
otherwise can fight me with the nearest kitchen utensil. (No, I'm just being
facetious; don't actually do that.)
Regardless of my personal interpretation of the story, it took me a while
to characterize the nature of the film as a whole. It exists as neither
completely real nor as a work of pure fiction. So far, I've observed similar
habits only in other Millennial writers who insist on throwing time-honored
conventions in the garbage and setting them on fire, for better or worse. The
most fitting term I could give it is Oblique Realism, for the way it rides a
thin, crooked line between reality and fiction.
And no, that's not actually a thing. But maybe it should be.
That being said, I’m not sure who would be more qualified to give Loon (as in, British slang for a crazy person, not the bird) a proper analysis: a professional film critic, or a licensed clinical psychiatrist. Instead, you’ll have to settle for the perspective of a twenty-something female writer of horror-fantasy fiction, so I hope that won’t be a problem. (But if it is, I don’t apologise.)
The lone star state of mind is a common thread in a teenagers life, but mixed with WW3 tensions running high in the world right now, lets turn this way and see how it's affecting today's youth. This is what LOON tackles. From their perspective, why even bother to think of the future if we all might all get annihilated in the America VS. North Korea conflict, or a random terrorist attack. In the UK, Brexit has cast a dark shadow over the idea of a brotherhood of nations. Let's wave goodbye to moving forward as a collective Europe. Whats worse is that the youth never even organised any rallies warning their age group's about the referendum. They forgot to vote!! It's hard to understand how this sense of no future, or even worse; no civilisation, can rub off on the youths conscience. In LOON's case the characters are abnormal, and primeval, detached from reality in different ways. But prescription pills, dreams of marrying a family member and becoming a notorious drummer help fuel local pantie dropper main character Charlie Sheen's fantasies. ''Society and parents are an atomic combination when it come's to raising kids, it's impossible to hold onto them, even children are on the internet now. Mass media is raising your children. I wanted to introduce a new side of the teenagers psyche that you've never see in cinema before. Say hello to the 21st century teenager'' says filmmaker Fabrizio Federico. Made for £20 the film was shot with no script and as a fly on the wall to resemble CCTV footage, all filmed in the families home after several months and at Banky's experimental amusement park Dismal Land.
Director Fabrizio Federico
''It was a tough shoot, there was a big power struggle going on during shooting, lots of cancelled days and people disappearing and arriving late. There was absolutely no structure. I was even stabbed with a fork during the first week, non of the cast parted as friend's. Everyone has blocked each other on Facebook and the ouija board party was a big mistake.'' At the core of the film lies a 'folie à deux' relationship between two cousins, 16 year old kleptomaniac Charlie Sheen (who wishes to be called 'Keith' - even though nobody respects his wishes) and his poison minded 18 year old cousin Georgia, who's aggressive, cunning, sexual personality has hypnotised her younger cousin into doing anything she wants ''always do whatever I say, remember that.'' The soundtrack by Mao strives to take the viewer on an amazing sonic journey undertaken by hypnotised Tibetan monks, referencing Aleister Crowley's spectres since most of the album was recorded at his Boleskine House in Scotland. Find out how. LOON will be release on Halloween, October 31th internationally. http://fabriziofederico.co.uk/
An auteur filmmaker. Born in the UK in 1983 and the oldest of 6 siblings, Federico was raised in an Italian/Jamaican culture. After surviving a house fire in 1989 which started late one night while he was watching Godzilla, him and his family narrowly escaped with their lives, having to escape by jumping out of their upstairs window. All that survived from their house was a photo of his recently deceased grandfather.
He fell in love with cinema as a young boy after moving to Italy. Films such as the Italian Spaghetti Westerns, Casper cartoons and the comedies of Paolo Villaggio (Fantozzi) all made an impression - as a teenager more avant-garde films by Dennis Hopper, Kenneth Anger, Andy Warhol & Pasolini captured his imagination to create movies outside of the mainstream.
''Id rather create chaotic films, they're more beautiful. Parent's hate my movies, cose I deal in state's of mind not discipline.It's the antithesis of professionalism & craftsmanship - more like sorcery.Be childish & irresponsible when creating, with the minimum of means.Regard my projects as epileptic fits.''
After being deported from the USA in 2006 Federico settled back in the UK.
For his debut feature film Black Biscuit (2012) he chose homeless people, sex workers & addicts to star in the film. Raising the funds by nude life modeling & going from door to door asking people to donate a £1.00. Most of the filming was done using car crash stolen cameras, mobile phones and children's cameras. There was no script, and he didn't tell anyone what the movie's plot was about during filming. His only direction was ''just be yourselves and either make me sick, amazed or inspired'' The film was called ''A rubik's cube of images.''
It was around this time that his controversial PINK8manifesto emerged, which created hostility, uncomprehending indifference and submission in the filmmaking world.
His next film Pregnant (2015) was released, which focuses on technology addiction in the 21st century & the mass hypnosis of a generation''. We witness the Facebook/Youtube generation's inner spiritual stagnation & mass disconnection from society, as they come to grips with this new madness called reality. During the filmming Federico was accused of arson after a misunderstanding concerning one of the films shoots.
During this period Jett Hollywood was born. Federico's alter-ego (Ziggy Stardust's illegitimate son) - A filmmaker from Mars. He promised to create two films and then commit 'cinema suicide'. Evolution Of The Earth Angel(2015) & Anarchy In The UK(2016) were the two films that emerged.
A controversy emerged after a suicide note which appeared online by his alter ego Jett Hollywood which resulted in an inquest. It prompted a disappearance case which revolved around the cryptic note which has since been withheld.
In 2016 the 1st Straight Jacket Guerrilla Film Festival launched 30 international films across the world, exploring today's Underground/Cult cinema makers.
To date his last film Teddy Bears Live Forever (2019) about a former 'it girl' suffering from multi-personality disorder was made in a single room with one actress as she unraveles into psychosis, and finally decides to go outside to lose her virginity.
He's a bit of an enigma, filmmaker Fabrizio Federico (aka Jett Hollywood). Take this year, he's starred in two celebrated international underground films 'The Kingdom Of Shadows' & 'In Search Of The Exile' in which he exhibits his 'primal therapy' acting technique, suffering a nervous breakdown brought on by insomnia during the shoots, followed by back to back projects in state of the nation film 'Anarchy In The UK', made on the road as his Ziggy Stardust alter-ego Jett Hollywood. The film has followed cancellations in certain movie theaters do to disputes over the film's content regarding cinema bodies.
''I just feel things are really building up after 2016, everything's about to explode, and Im not talking about Armageddon.''
His next project 'Loon' has been in pre-production, the movie has been filmed in shady locations through out the macabre country side of the Midlands. Including abandoned karate studios, ghost hunts, and at live vintage rock & roll shows.
''It's been a really confusing year, amusing with lots of happy accidents. I've got a really warped sense of humor about how a film come's together, you cast a spell and you watch it all come true. And the guitar playing has been a blast, just being able to go mad on stage, it's like setting a stick of dynamite alight, the anticipation washes over you before you blast off! Mixing cinema and rock & roll together is a lethal ritual.''
Federico's wigged out sense of style when it come's to cinema is quite scrappy. Storing graveyard soil inside his guitar case, pouring toothpaste on actors faces and his habit of improvising whole movies based on a chosen image puts him in a class of filmmakers (Lars Von Trier, Harmony Korine, Xavier Dolan, Werner Herzog) who see the process of making a film as one of the last true adventures in modern society.
The documentary Anarchy In The UK is the missing link that pulls all of the excitement,
magic and controversies from the past few years of the UK's Indie
cinema scene together for viewers to walk away inspired. Maverick
filmmaker Fabrizio Federico traveled all across the UK to compile the
statements of todays outspoken filmmakers, organizations and fans.
Federico
created a Ziggy Stardust alter-ego called Jett Hollywood who promised
to create two films and then commit cinema suicide. This is his second
film from the school of scumbag college.
''Making
the movie was a real challenge because there arent many filmmakers left
out there who arent afraid to tell it like it is. Everyone seems to be
media trained these days and doesn't want to offend anyone. I was just
looking for the truth, and the message I got from everyone is basically
become a god onto yourself and find your king superstarswagger.''
The film focuses on the years 2010 to 2016
as a new generation got brutally tangled up in the governments mess of
the UK Film Council Cuts & the London tuition fee riots. Refusing to
lie downthese filmmakers & cult cinema groups decided to sabotage and eradicate cinemas morals. Taking to
the streets to shoot guerrilla-style movies and creating a generation gap
in the film industry. With an irreverent sneer in his eyes and smile of someone who just ate the royal canary. The blood of a pirate and a poet. Federico cuts a ball of energy that is both disarming and barbed, you could easily get cut. But if he sense's truth in you, its a celebration.''We
dont need the government to make films, if anything they've done us all
a favor, we dont need their censorship dogmas, all we
wanna do is have a good time making our films, showing them to mad crowds
and giving the industry the finger in the process.Simple really and we're winning.'' The films linchpin theme is lawlessness, and its point runs deep throughout the documentary, the whole ''misrule cinema'' aspect is to go out and embrace the punk attitude of saying fuck it im gonna go for it at all costs while Im still alive. ''Without
a doubt meeting all these like minded people made me feel like this
wasnt just some lone cinema suicide mission, we're all in this
together, to create beautiful insane films that are different but true
to our vision, without having to follow any rules, I'd found my sweet
spot. If the boring people disapprove then fuck them, I mean that
because these movies arent for you. ''
What does your film express about todays generation?
In order to answer, we must, first of all, ask “What exactly is todays generation?” and that’s a really hard question.
What social circumstances lead you to make your new film?
I don't make films, films make me.
What do you think about the PINK8 Manifesto & Punk Cinema?
I’d like to quote Jacques Derrida: “Between lying and acting, acting in politics, manifesting one’s own freedom through action, transforming facts, anticipating the future, there is something like an essential affinity: The lie is the future.”
