Joe Swanberg

#StrictlyIndie Film Views: "The Sacrament"

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Whether you’re a fan of Ti West’s previous work or not, his most recent film, The Sacrament, demands its viewers’ attention. The pace at which West let’s the mystery unfold allows for great tension and suspense in what is probably his most chilling and polished film yet.

The Sacrament follows three friends who are all apart of a multimedia company called VICE. When Sam (AJ Bowen) finds out that his fellow photographer’s sister has joined a community outside of the states to better herself from her drug addiction, he immediately wants to investigate its origin. He also brings along his cameraman, played by yet another indie filmmaker/actor: Joe Swanberg. From the moment the three get off the helicopter, there’s a clear sense that “Eden Parish” is not what they thought it was. The so called paradise is guarded like an internment camp. There’s only one way in and one way out. The three are greeted by Patrick’s sister, Caroline (Amy Seimetz), who ensures them that the men with guns are not a fair representation of what they’re about to witness. From there on, each scene is a nail-biter, skillfully emphasized by Tyler Bates’ original score.

The found footage sub-genre of horror filmmaking has made its way cozily into my heart over the past few years. Ti West is no newcomer when it comes to the genre, having directed segments in anthology films like V/H/S and The ABC’s of Death. Interestingly enough, this film reminded me of Timo Tjahanto and Gareth Evans’ segment from V/H/S 2 called “Safe Haven.” Timo actually explains how he wanted to try doing a film about the Jamestown Massacre in an article from Entertainment Weekly, but that’s neither here nor there. The fact of the matter is, Ti West grabbed at the opportunity to portray this deranged vision of a powerful man’s utopia and did a damn horrifying job.

The Sacrament is now screening at select theaters and is also available to rent on iTunes.

Review by Ryan Kramer

#StrictlyIndie Film Views: "Drinking Buddies"

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In Joe Swanberg's Drinking Buddies, there are many aspects that can enable you to view the Romantic Comedy genre in a different light; but the film is ultimately a few puzzle pieces short of showing us the big picture.

Kate (Olivia Wilde) and Luke (Jake Johnson) are co-workers and good friends.... almost too good of friends. Kate is about eight months into a relationship with Chris (Ron Livingston), and they seem to have little in common with each other. 

Luke is six years deep into a committed relationship with Jill (Anna Kendrick), who seems to really love Luke but has doubts about Luke's commitment to tying the knot. After the four friends have an interesting stay at  Chris' vacation cabin, the dynamics shift, and Kate and Luke's relationship is tested again and again as the story moves along. The line between friendship and apparent inappropriateness becomes blurry, especially after a couple drinks.

One of the facets of Drinking Buddies that drives the story so strongly is the revealing of information. There are moments that are almost always shown in typical romantic comedies that Swanberg chooses to deprive the audience of. This will keep you anxious and involved as the story unravels. He also chooses to break the character tropes and resolution that has grown so tiresome in the genre. This film is not about two great friends who have unattached or shitty significant others and somehow finally come to the conclusion that their soul mate has been right under their noses the whole time. Aww. Yeah, no. It is rather an exploration of modern relationships and the boundaries that can be pushed between heterosexual friends of the opposite sex. 

*** SPOILERS***

Despite all the revitalizing aspects of this heartfelt hipster-romance, Luke and Kate's inappropriate relationship is never really addressed, and my feelings after the credits rolled lied somewhere between refreshing and pointless. Yet, still, the outstanding performances make it easier to roll with.

Drinking Buddies is currently streaming on Netfilx. 

 

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Review by Ryan Kramer