The Parson’s Widow

The Parson’s Widow / 16 May

The satisfactions of early Dreyer are available to the viewer in a somewhat limited quantity. Those looking for embryonic signs of the director’s signature style, augmented by the occasionally spectacular sequence will find what they’re looking for; those expecting fully formed masterpieces or even any kind of consistently sustained brilliance, alas, will not. Still, if there’s one early work that satisfies most completely on its own terms, it’s probably the filmmaker’s 1920 feature The Parson’s Widow and that’s largely because it’s played pretty much as comedy.

Review by Andrew Schenker | Comment

Nerdcore Rising

Nerdcore Rising / 15 May

IFFB coverage – Other nerdcore artists appear along with MC Frontalot, and there is discussion of the obvious differences and ironic similarities between nerdcore and, say, gangsta rap, as well as the potentially problematic issue of a white musician co-opting a traditionally black musical style and giving it a comic twist, but these are brief interludes in a fairly short feature, and there are stones that go noticeably unturned.

Review by Victoria Large | Comment

The Beaver Trilogy

The Beaver Trilogy / 12 May

IFFB coverage – In my mind, the Beaver Kid is and does one thing, and in the filmmaker’s mind, he is and does something entirely different. Both Harris and I have evidence for our interpretations. Both of us might be wrong. Either way, The Beaver Trilogy accomplishes something astonishing. It documents the gap between an event and its interpretation, between an action and our memory of it, between the world and our perceptions.

Review by Katherine Follett | Comment

The Beaver Trilogy

The Beaver Trilogy / 12 May

IFFB coverage – What we’re observing in the initial scene of the Beaver Trilogy is real, but it is also a performance. And it’s one, the film will subsequently prove, so wholly unique, so unadulterated and unrehearsed that it amounts to one of those moments for which cinema exists, a performance expressed outwardly toward an audience and yet one created in respect to the presence of a camera.

Review by Rumsey Taylor | Comments (2)

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