2003 Directed by Vincent Gallo
Bud Clay races motorcycles in the 250cc Formula II class of road racing. After a race in New Hampshire, he has five days to get to his next race in California. During his road trip, he is haunted by memories of the last time he saw Daisy, his true love.
"I will one day be thin, but Vincent Gallo will always be the director of The Brown Bunny". R. I. P. Roger Ebert.
This was an absolutely raw, vulnerable, and purposefully pitiful film...unsimulated sad blowjobs and all. It's essentially the spatio-temporal (aka cinematic) representation of loss within a (fragile) masculine framework. Not to spoil too much, but our Bud Clay (Gallo) essentially travels endlessly, only to stop to feed/refuel or ride his bike to nowhere and back. It's the directionless of his mind, stuck between nowhere and the past--even in the periodic breakdowns of the 180-degree rule and spatial cueing that deteriorate any sense of forward direction. Obviously it represents loneliness and lost sense of being, but also a particular brand. The bike itself may represent a masculine vigour that is revved in endless and pitiful (meaningless) posturing across a barren landscape. Throughout,…
Aside from being terrible, this film is probably best known for that "infamous scene".
This was directed AND written by it's star Vincent Gallo.
Well, now I want to be a filmmaker more than I ever did!
Side note: This film is proof why every scmuck with a camera can't be a director just because they have a camera.
The Brown Bunny is to Buffalo '66 what Refn's Only God Forgives is to his Drive: a slow, meandering and visual-laden follow-up to a critical and audience acclaimed work. Both TBB and OGF got some pretty heavy critical mauling, but I think both movies are brilliant: Gallo's tone and pace are just right, making up a flick that's both mysterious and accessible. Melancholic, phantasmagorical and slowly hypnotizing, I'm probably gonna watch this a lot.
This film is a masterpiece but the version I saw in Cannes in 2003 was even beyond (more tears, more roads and a tragic ending). I can't believe Gallo cut it because of the stupid audience and critics. I truly hope this first edit will resurface one day...
If this isn’t a criterion release teaser, don’t change the cover art.
Unless this menacing is by Gallo himself.
Then ‘Promises Written in Water’ please x.
Also, ‘When’ record reissue too, thank you x.
This is Buffalo 66's beautifully melancholic B-side, with the infamous scene taking on a wildly different meaning when placed in the film's proper context.
Universalmente odiada por críticos y por no críticos. The Brown Bunny me la recomendó una persona hace algún tiempo, y me habló precisamente de que era su película favorita y que probablemente no me gustaría, y he de decir que sí me gustó y a la vez no, es una de esas cintas en donde uno no está seguro de nada y en donde hay mucha dualidad. Decidí verla también porque hay división, algunos dicen que es muy buena, otras que todo lo contrario.
Vincent Gallo logró crear una película triste y deprimente, desde la cámara hasta las actuaciones similares a lo que luego sería pieza fundamental del trabajo de Yorgos Lanthimos; personas que no son personas intentando ser personas,…
There's no there there, a road trip from nowhere to nowhere through the death of America. No learning curves, no character arcs, no chance for transcendence, escape, or anything like freedom; all the characters are ghosts, with nothing inside them or outside them that can sustain or nourish them; they ghost past each other, and they may touch for awhile, but they have nothing to give each other, and in the end all they can do is ghost away, drifting toward the next simulacrum of a human experience.
or, Vincent Gallo Presents: Come Crywank with Me.
Between this, The Wayward Cloud, and Battle in Heaven, should I be worried that most of my favorite examples of so-called "slow cinema" seem to be the ones with un-simulated blowjobs in them?
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