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nobudgefilms.com NoBudge showcases the new class of truly i n d e p e n d e nt f i l m s . Its run by filmmaker K e nt u c k e r A u d l e y . To s u b m it a f i l m t o b e shown on NoBudge, CLICK HERE. If you have news on a film (trailer, festival premiere, or official r e l e a s e ) l e t u s k n o w. nobudgefilms@gmail.com @NoBudge

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contents
Open Five 2 Frames The Game Store Sophie How to Live with Bed Bugs Death to the Tinman All the Light in the Sky

Content:

Kentucker Audley Craig Keller

Design / Layout:

Craig Keller

cover image from Frames by Brandon Colvin

OPEN FIVE 2

WATCH THE FULL FILM FOR FREE NOW. CLICK HERE.

The fact that Open Five 2 was made for the web is intriguing, but just for the quality of its winter light and the restraint of the direction, it would be worth a theater release. Nicholas Elliott / Cahiers du cinma Audley reveals himself to be an American director with Rivettes interests in improvisation and experimentation and Cassavetes interest in using his own relationships to plunge the depths of raw emotion. Miriam Bale / La Di Da Film Festival

FRAMES

a film by

BRANDON COLVIN

THE LAST ROMANTIC COUPLE

Frames, Brandon Colvins excellent debut feature from 2012, takes off with two young late-high-schoolers, a boy (Holland Nol) and a girl (Maria Travis), who are friends but through the pretense of a camcorder-film project realize theyre probably in love. The girl is more sexual in body, poise, and desire and knows how to telegraph it better than the boy, who is timid but desirous, awkward and a little Aspergerian. He ineptly but nonetheless charmingly attempts a lateral tracking shot of a street-scene with a wheelchair la Breathless or Une femme marie and he says its in homage to Kubrick (The Killing?). Hes a teenage film buff. He sleeps with a quad-sheet of The Shining over his bed. The girl suggests he watch the Hitchcock films with Grace Kelly To Catch a Thief, Dial M for Murder, Rear Window. She gives him a DVD of the last one; he puts it in early that evening and falls asleep till the next morning; matter-of-factly tells her as much. His lack of social awareness doesnt mean his antennae arent extended: soon hes using his camera to take up the voyeur role like Jimmy Stewart in Hitchcocks film and express the sexual compulsion. Shortly afterward, the film enters a new and mysterious second-half, wherein the cinema vibes around the two characters pervade the actual Colvin film Frames itself: over the final forty minutes the storyline will pass through plot elements of Antonionis Lavventura (enigmatic secondhalf disappearance), Blowup (evidence in close-up and study of images), and Leclisse (succession of locked-shots of a deserted environment, including

streetlamp one element of the brilliant climax from which no good can come in giving away here). Elsewhere there are evocations of Lynch-esque sound design (slow-burn sonic rumbles) and characterization (Twin Peaks and the character of the girls father Mr. Kanan), tableau-force of single objects like an iPhone in a drawer or damaged glasses as in, again, Lynch or Hitchcock (note: recall that whats happening in Colvins film with the pervasion of Lynch/ Hitchcock is precisely what occurs in Lynchs Blue Velvet, with the pervasion of Hitchcock), mannerist model-performance style like in Bresson, etc. The movie-seepage isnt entirely, diagrammatically, confined to the second half; its there in the first part as well, giving us the impression that some thirdparty narrative voice were keeping watch over the proceedings (which point-of-view expresses itself fully in the aforementioned final sequence) see two pages prior, for example: the first image is like something out of 90s Godard (say For Ever Mozart); the second like something out of 60s Godard (say Made in U.S.A); the third like something out of 90s or 00s Godard (say Hlas pour moi or Notre musique). This young-adult art-film might have been titled The Outsiders were it not for the fact that the teen protagonists are so circumscribed by images, their fate predetermined by the perfunctory mystery genre: the frames of images, frames as pens of liberty and volition, frames of spectacles ultimately blood-spattered when seeing is too much and not enough. ////////////////// CLICK HERE TO WATCH THE FILM.

CLICK HERE TO READ ACE WEEKLYS COVER STORY ON FILMMAKERS KENTUCKER AUDLEY AND BRANDON COLVIN, AND THE THINKING BEHIND NOBUDGE.

THE GAME STORE

WILLIAM KYLE GERARDI

short

film

by

Weve got a real laid-back atmosphere here real laid-back. So speaks the owner-manager of the game store to a prospective employee, moments after he downs a few mini-bar bottles of vodka in seclusion and spins the chambers of a revolver aimed at his temple. Needless to say the girl very pretty (the kind of pretty girl who says: Im actually kind of a nerd?), possibly of mixed ethnicity gets the job. Why mention ethnicity? Because Gerardis lean, episodic 2012 comedy hinges on matters of race: the white protagonist cowed by the black customer who removes his shirt to show off his tattooed ripped physique, and goads the clerk over his semitic nose; the same clerk, off-duty, taking a break from browsing Far East porn and fetish material to slurp noodles, later harassing an Asian patron of the game store, provoking her boyfriend to hawk a loogie in his hair: bukkake-style spray. (Is this poetic justice? Or the clerks wish fulfillment to Enter the Asia: gratification by way of humiliation?) Gerardis film is a portrait of the paranoid fantasy worlds of White-Boy Culture. Wander into The Game Store for a browse; after 15 minutes you can leave. /////////////// CLICK HERE TO WATCH THE FILM.

Sean Rourke Meehan

SOPHIE a film by

Sean Rourke Meehans 2010 film is a 5 minute 51 second glimpse into the moments immediately following the wrap on a presumable porn shoot inside a suburban house. The woman moves to the bathroom, douches on the toilet, changes into her clothes, says goodbye to her scene partner and the director, gets into a car parked across the street. Sound of night crickets. End film. Sophie almost seems an extract from a longer work; subsequent viewings reveal how this excerpted quality serves as a means of focusing on a set of primary concerns: What happens once a porn shoot ends? Whats the small talk upon leaving the set? Is re-entering the regular world so easily instantaneous? (Meehan suggests it certainly can be.) Theres a banality depicted here that, perhaps because of the compressed duration of the picture, moves beyond the typical impression-of-banality-upon-dark-subjectmatter so common to todays cinema. (cf. Hannah Arendts famous phrase from Eichmann in Jerusalem: the banality of evil.) Sophie, which explores some of the territory also treated in Joe Swanbergs great 2011 feature Art History, contains a particularly wonderful moment when the actress leaves the bedroom and, as the two men take a seat to watch the footage, neither gives a clich eyebrow-raise to one another in the wake of her departure.They watch the footage. /////////////// CLICK HERE TO WATCH THE FILM.

How to Live with Bed Bugs

by John Wilson

The new short from the folks who brought you HOW TO CLEAN A CAST IRON PAN.
Hilarious & terrifying docu-instructional on sadness & hardships in NYC living. A must-see. CLICK HERE TO WATCH THE FILM.

The Vimeo Staff Pick hit with tens of thousands of views.

No Budge Classics

7 0 0 2

I R O T N Y TI

Bill loves Jane, the pastors daughter. When Bill becomes a threat to the community, the pastor is forced to curse his ax. One of the most stylish & kinetic films of the true indie era. (Made by Court 13, the team behind Beasts of the Southern Wild.) CLICK HERE TO WATCH THE FILM.

No Budge Secret Screening

All the Light in the Sky

a film by Joe Swanberg

For its first ever Secret Screening, NoBudge hosted a free two-hour stream of Joe Swanbergs latest feature, the superb All the Light in the Sky, starring Jane Adams, Larry Fessenden, SophiaTakal, and Kent Osborne. Swanbergs new film, Drinking Buddies, starring Anna Kendrick, Olivia Wilde, and Jake Johnson will premiere in March at SXSW 2013. Follow @NoBudge on Twitter or Facebook to find out when our next Secret Screening will take place with the film only revealed at the time of streaming.

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