’100% Off’: This intrigue is a rough float though value a journey
July 8, 2012 by admin
Filed under Lingerie Events
Hang in there with internal filmmaker Shaun Scott’s “100% Off: A Recession-Era Romance”: It’s wily going, quite during first, though pays off.
Loosely, it’s a story of dual immature couples — Kyle (Matt Giampietro) and Rosa (Laurie Roberts), and Jean (Scott) and Jessie (Stephanie Kim) — entrance to a finish of their undergraduate years during a University of Washington, traffic with their relations and their economically capricious future. But a story’s told as if by a kaleidoscope: changeable chronology, ever-switching visuals (grainy film contrasts with digital camerawork), pieces and pieces entrance together in time, eventually formulating a some-more awake whole.
Scott, in his initial underline (he’s formerly done dual documentaries), still needs to find his approach with actors; a performances are mostly stilted, with a expel ostensible to recite discourse rather than rivet in conversation. (At times Scott plays with a unequivocally thought of conversation, with a actors wordless while we hear them vocalization to any other in voice-over — a potentially engaging judgment that doesn’t unequivocally go anywhere.)
But there’s most about this desirous film that indicates a genuine artistic gift; quite a approach Scott blends aged and new. In one scene, Jessie rides a train by a Seattle neighborhood, gazing out a window; we see houses as they are currently and, in selected footage, views from decades ago, as if she’s roving behind in time. A charmingly scratchy 1922 song, “I’m in a Market For You,” gives a film a Woody Allen-esque framing; black-and-white footage from a long-ago retrogression draws parallels, wordlessly and eloquently.
Eventually, “100% Off” comes together; we know a proof behind a visible choices as a dual couples’ histories are filled in — even down to some endearing final endnotes for any impression as Scott sends them on their way. It’s a film full of ideas and energy, some of that are improved served than others, and it left me wanting to see what Scott does next. Like Lena Dunham’s “Tiny Furniture” (also injured though promising), it’s not a final destination, though a stop in a potentially intriguing journey.
Moira Macdonald: 206-464-2725 or mmacdonald@seattletimes.com
