All anyone really wants in this world is to be understood...

I feel very torn after watching this film, but not about the film itself.

On one hand, you have Buffalo '66. It's an amazing debut that really fires on full cylinders when delivering to the audience. Every little detail, nuance, and quirk is successful and I will rewatch this many times in the future. Maybe it's just because this is my first watch, but I'm surprised that I don't see this talked about on the same level as other 90's indie favorites of mine like Clerks and Kids.

This film wears its influences on its sleeve (Billy Brown is kinda just an angrier, unhinged Alvy Singer. The photo booth scene especially screams Woody Allen), but it never ceases to be wildly original. The two leads are fucking fantastic and oh my god is Christina Ricci amazing in this. With this and Speed Racer I am a big fan of hers.

This film is a strong 8 to a light 9. Love it love it love it!

On the other hand, we have the context of the film which is very confusing and upsetting. Like, what/who/where the fuck is Vincent Gallo now? He made two fantastic independent films, has a good album, and hasn't really done much since.

What happened?

Did Roger Ebert really ruin his career after The Brown Bunny? Did the stress of independent filmmaking get to him? Or did he just not have any more stories to tell?

If it wasn't the latter (and judging by the strength of his two stories, I assume not), then we are missing out in a world without him. Perhaps if people understood The Brown Bunny, Vincent Gallo would be talked about the same amount as Harmony Korine.

Vincent Gallo might just be the person who I would most likely want to have dinner with.