Slacker radio reviews2/10/2023 We join the driver of this car in his flat, until he is arrested by police and charged with running down his mother. As help is called, the camera moves in a leisurely circle until it regards a rooming house just as the same hit-and-run car pulls up in front of it. He drops off his fare just as a car speeds away and some passersby find a woman hit-and-run victim in the street. Example: Early in the film, a taxi driver picks up a fare (Linklater), who hangs over the back seat and expounds at length on his theory that every time you think of a possibility, that possibility becomes a separate reality on some other level of existence. Linklater does the same thing at a speeded-up pace that allows him to carom through the slacker community of Austin, Texas, like a cue ball with a camera. Surrealist directors such as Luis Bunuel, in moves like " The Phantom of Liberty," would follow one story for a scene or so, and then - when the characters bumped into another group of people - spin off and follow them for awhile, and so on until the end of the movie. So he has borrowed an excellent technique from the surrealists and pushed it to its logical conclusion. Linklater wants to watch these people and listen to them, but he does not much want to get involved in their lives, or follow them through the mechanics of a plot.
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