All Good Things Movie 2010 Review Online

All Good Things Movie 2010 Review Online

All Good Things Movie 2010 Review Online

In partnership with actress Stella Schnabel, Ry Russo-Young's indie extravaganza documents, fragments and pieces together the life of twentysomething rebel Shelly Brown. She does drugs, goes to auditions, speaks with a faceless therapist after being checked into a psychiatric ward, woos her longtime best friend, has anonymous sex, fights friends, does drugs again, repeatedly calls her mother and engages in lengthy philosophical self-diagnosis. Characters float past the camera and through the life of the dissatisfied, aspiring actress in You Won't Miss Me, opening Dec. 10 at Cinema Village. The film transpires in a collage of five formats, mix of non-actors and professionals, puzzle of verit and scripted moments and countless soulful camera stares.

"I wanted to make a film that could only be made at this particular moment in time, that would speak to our entire visual existence todaywhat it means to be alive right now," Russo-Young justifies in her director's statement. "We watch YouTube, then we go see a movie in the theater, we video chat, we shoot on our own camcorders. There are so many ways to see and capture and they all speak a slightly different and nuanced language."

But Shelly Brown doesn't use email, never watches YouTube and has probably never heard of Skype. The film she is making with her voiceless friend is shot on film stock in an antiquated camera that looks like it was found at the same yard sale pictured back in Where the Heart Is. Contemporary technology does not inform anything beyond cinematic technique, leaving the film a sticky portrait full of pixelated pictures and weirdly divided screens. Russo-Young has elevated style so far above content that she has lost the plot.

Our narrator's subjective timeline makes as much sense as a brief scene where she binds herself with masking tape and calls a nameless man to giggle at him in broken Spanish. Shelly is broke enough to borrow from a drugged-out queen, but privileged enough to invite friends out to the country house for an orchestrated threesome. She is crazy enough to be committed by her mother, but sane enough to leave the psychiatric ward and make eyes at a boy in the elevator. Banal conversation about popping zits turns into desperate sex, but none of it fazes Shelly enough for the audience to care.

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