For this research paper, I am debating between two different films, for completely different reasons. Actually I am not sure if I can write about .a film currently in the theatre but I am drawn to the film, The Florida Project. Sean Baker is a filmmaker I admire for telling authentic, real stories without pushing such harsh topics onto the viewer. I wanted to focus more on the script itself and the style it is written in verse the types of shots he specifically used to coincide with the mundane dialogue. The pairing of that along with such a heartbreaking story that a good portion of America grow up living that way. The reality of these children upbringing and the sense of loss of innocence. They are preoccupying themselves and witnessing some harsh scenarios. I want to focus on the script in particular, the stylistic shots, the long tedious takes and the non actors vs. real actors onscreen. The relationship between the kids, the owner and the single moms are each relevant, powerful and entertaining. All of this supports a gentle/powerful way in which cinema touches light on and expresses an otherwise painful story.
The second film I had in mind was the Polish Film, All These Sleepless Nights, directed by Michal Marczak. Stylistically this film draws me in. The film is about that time period in your twenties where one is battling the idea of love, partying and identity. It is set in Warsaw but the topic is definitely universal. I really look up to the low budget indie film style where Michal filmed on a Sony a7s and filmed overt the span of two summers. I read somewhere that all the sound was ADR mainly because he specifically chose certain songs wherever they were partying to go along the mood. Which also ties into the debate whether this is a documentary or fictionalized film. Michal states its borderline between documentary and fiction which I find fascinating. The way he directed actors reminds me of neorealism. The editing of the jump cuts is another element I would love to research and delve into because he will cut mid conversation to either another conversation or a completely different location. As the viewer, one is never fully satisfied but it goes along with the idea of that time in our lives where nothing really “feels” satisfying and always looking for more.
So those are the two films I am debating between to focus my research paper on.
Johanna, I haven’t seen either film yet (and yes, it could be difficult to write about a film you don’t have ready access to), but whichever you choose, you’ll want to think about the historical perspective you’ll bring to your argument. In other words: what is new about the film in question; what makes it historically significant? Alternatively, how does it relate to/represent a transformation of earlier film history? Just as an example: If you did want to write about “The Florida Project,” it could be interesting to consider in relation to other films/traditions that have used children as protagonists. I’m thinking here of Neorealism, of course (including Paisà) but also Satyajit Ray’s Apu trilogy and some of the Iranian cinema we discussed last week—all of which take a more or less “realist” approach. On the other side, there are films like Pan’s Labyrinth, Spirit of the Beehive, and even Beasts of the Southern Wild that take a more magical realist/fantastic approach. Have you identified any secondary sources?