Instead of adhering to the norms of their South Central neighborhood, a group of skater boys opt to bus into Hollywood and Beverly Hills, where they attract local rich girls - and plenty of... See full summary »
An experimental film originally shown as an art installation in Manhattan by Harmony Korine. It involved left-over footage from his directorial debut "Gummo", projected on three separate ... See full summary »
A series of hazy 8mm vignettes, accompanied by a soft, lilting voice over, in which girls skulk around schoolyards, spray graffiti, drink, smoke, pose and embrace, evoking the loneliness, confusion and overwhelming wonder of growing up.
"O, mio babbino caro" plays as a woman skates gracefully. In contrast, little is graceful and daddy is not dear in Julien's world. His father listens to blues wearing a gas mask; dad prods, lectures, and derides Julien as well as Julien's brother and pregnant sister, while grandma attends to her dog. Julien is different, schizophrenic. He wears gold teeth. He bowls, sings, worships, and chats with a group of young adults with disabilities. His sister's child is probably his own. He talks on the phone, imagining it's his mother, who died in childbirth years before. He may be a murderer of children. From his point of view (perhaps), the film follows this odd family for a few weeks. Written by
The film was shot from a 124-scene treatment of sorts; essentially only general descriptions of scenes ("The sound of hard wind," is all it says for Scene 8. In Scene 58, "Julien's brother tries again in vain to kill the swan."). All the dialogue was improvised by the actors, except for one scene where Julien is talking to his "dead mother" on the telephone. See more »
Keep brushing your teeth and you will always be a happy person.
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Harmony Korine is one of Americas' bravest and best directors
Much like European directors Thomas Vinterberg, Lars Von Trier, Jean Luc Goddard, and Werner Herzog (who plays the father!), young American director Harmony Korine is not content to just produce a product. This is film as art. This is film as statement. This is film as reality. It is not escapism-quite the contrary; "Julien" offers nothing in the way of fantasy (other than it's a 'film' and therefore not 'real'). Rather, it injects the viewer into the nervous system of an American most would pretend doesn't exist. It follows a moment in time for Julien, a mentally deranged young man, and his family as they trudge through their mundane, yet disturbed lives. Opening with Julien apparently murdering a young boy in the woods, the viewer is immediately tuned in to just how disturbed he is. From here, the film gives a 'fly on the wall' view of his family; an exasperated father (Herzog), abusive out of his own failures-both personal and familial. A classically driven brother who, through amatuer wrestling, tries to impress daddy-to no avail. Rounding the unit out is his sister (Chloe Sevigny), a ray of light (albeit tainted) within the molassas thick dispair. As the film progresses, we get bits and pieces of a family in sharp decline; the madness isn't all Juliens' that's for sure. Information is given in fits and starts, like bad dreams in still shots. Being a so called 'Dogme' film, "Julien Donkey Boy" has a voyueristic bent, akin to watching a home movie you found on the street. This feeling is only heightened by the seemingly improvised acting (I say 'seemingly' because it can't be ALL impov; forget what you've heard "Julien" DOES have a plot, just not a conventional one). Obviously, "Julien Donkey Boy" is not for everybody, just as "Fitzcarraldo" is not for everyone. I personally found this film compelling. This is the way some people actually live- someone you know, maybe even yourself, and that's why this film works. If I have any criticism, it's not of "Julien" per se, but the fact that all of Korine's films have dealt with teenagers, therefore probably making it easier for some to dismiss his work as merely 'fringe'.
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