FILM AS METAPHOR FOR FILM�
Lily Hatchett
Film as metaphor for film is a topic touched on by filmmakers
large and small. The tale told in The Last Supper
style=’font-size:8.0pt;font-family:Verdana’>,
style=’font-size:8.0pt;font-family:Verdana’>a very independent film from
Slovenia (Tribeca Film Festival, 2002), has entered that realm with the help of
two very delightful inmates in a psychiatric lockup. This fantasy needs no
batteries or fresh tape stock.
It just
so happens that one of the "lunatics" is quite handy at prying a
hospital surveillance camera out of a wall, and off they go into town to make a
movie and save a maiden. These two escapees know nothing of the world. This is
not a problem. Their true nature, untainted by information, is benign and kind.
They just want to help. The cameraman is the camera, a na�ve eye to the world,
looking in on something while the other guy is just trying to be a man by
saving a lady. In this case, the maiden is a suicidal hooker who wants them to
help her to "end it all". But first, they must go to granny’s!
Here we
have the world of independent filmmakers. Like our "lunatics" from The
Last Supper, they
are also runaways with cameras and with a mission. This is generally a group of
warm, friendly, in-your-face kind of folks who are happy to tell you all about
their world and happy to show you their work. And when the work is shown at
film festivals like Sundance or Tribeca, the filmmakers find themselves in a
"friends for life" kind of vibe with relaxed industry parties,
excellent subculture stuff and a chance for the ring, but not necessarily a
distribution deal.
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