On the heels of releasing Music for Looking Animals, a new album under his solo project Mountain Time, Chris Simpson has released a wistful video for “Empty Graves.”
Directed by Gates Bradley, the black-and-white video features an accordion player busking in an empty town. Wearing a mask, she straps on her character shoes and plays the opening lines to the song: “I’m a sowing machine/Everything but what she needs/And God she knows just what I mean.” She travels through abandoned streets and fields, finally receiving a tip at the end.
Directed by Gates Bradley, the black-and-white video features an accordion player busking in an empty town. Wearing a mask, she straps on her character shoes and plays the opening lines to the song: “I’m a sowing machine/Everything but what she needs/And God she knows just what I mean.” She travels through abandoned streets and fields, finally receiving a tip at the end.
- 8/26/2020
- by Angie Martoccio
- Rollingstone.com
In Daniel Goldhaber and Isa Mazzei’s paranoid thriller “Cam,” an erotic webcam performer finds her followers stolen by a doppelganger who hijacks her channel, pushes the sexual envelope farther, and otherwise seems determined to destroy her life. Call it identity theft of a sexy, possibly supernatural kind.
There’s not much depth to this low-budget but resourcefully flashy enterprise, which is hyperactive in presentation to the brink of being grating. Nor is there much (if any) satisfactory resolution to the central mystery. But the combination of a sex-worker milieu, suspense mechanics and speed-of-the-internet pace should appeal to genre fans looking for something different — but not too different — from the norm. It certainly worked for Fantasia jurors, who gave the film their best screenplay and first feature prizes, and Netflix buyers, who acquired “Cam” from the Montreal-based genre fest.
In her all-pink home “studio,” Alice aka “Lola” (Madeline Brewer from...
There’s not much depth to this low-budget but resourcefully flashy enterprise, which is hyperactive in presentation to the brink of being grating. Nor is there much (if any) satisfactory resolution to the central mystery. But the combination of a sex-worker milieu, suspense mechanics and speed-of-the-internet pace should appeal to genre fans looking for something different — but not too different — from the norm. It certainly worked for Fantasia jurors, who gave the film their best screenplay and first feature prizes, and Netflix buyers, who acquired “Cam” from the Montreal-based genre fest.
In her all-pink home “studio,” Alice aka “Lola” (Madeline Brewer from...
- 7/26/2018
- by Dennis Harvey
- Variety Film + TV
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