88:88 ★★★★½

The movie starts. Almost immediately, the audio cuts in and out, and some of the audience sound audibly frustrated. It continues throughout its 65 minute runtime, and the man to the right of my friend asks the Alamo runner if they're addressing the problems. "They've told me that's how the movie is." The man sighs and leaves shortly after paying for items purchased that surely served as a welcome salve to what he was/wasn't hearing and seeing on the screen.

It's a shame that we as an audience have become so acclimated to what a movie is that when something comes around to challenge that notion, our reaction isn't to think about how we're experiencing something new* but to instead scoff and wish that we could go back to what's familiar. I had hoped to see a bigger turnout and used Twitter as a way to draw more people in (I don't have the type of pull there to really get people's attention but it was worth a shot!), but it would have been a bummer to see potentially more walkouts than the three that occurred.

As for the movie itself, I've seen people lament that Medina spends too much time with the various philosophies (none of which I feel particularly well versed in trying to discuss here, sorry) and of the incomprehensibility of it all. I think if you take the rest of the movie as Medina and his Winnipeg friends living in poverty and trying to make ends meet, why does the philosophy stuff have to come across as overindulgent/pretentious/whatever? Why can't it just be early twentysomethings talking about the heady material in a way they perceive it even if it comes across as incoherent? I think I'm rambling now and making very little sense (a huge reason I don't write more), so let me just say that I was a huge fan when I watched at home the first time and even more of a fan on rewatch theatrically. I eagerly await Medina's next film.

*Clearly, Medina is not the first person to experiment formally as he does here, though I wonder how many of the people present here had seen movies by earlier directors that had. I think Austin, on the whole, is sorely lacking in people interested in avant-garde/experimental films. Maybe if it had been curated by Experimental Response Cinema, it would have drawn a different, more welcoming audience. Who knows.

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