Brando Colvin's "Frames" is excellent example of Formalist Style from beginning to end. It is amazing to me that he can achieve this on a low budget.
The concern here is on how "reality" is "perceived" within the context of what is captured in a frame of film. This idea is communicated not only in the reality of the leading character's view of his world, but in the view that Colvin provides to the audience.
The film's actors prove to be quite effective in adapting their performances to fit within the context of style. Their performances are almost avant-garde as "truth" is communicated in specifically nuanced and almost emotionless ways.
The film continually references Hitchcock's "Rear Window" in interesting ways that serves as connection to limited information leading to what a character perceives to be "truth" --- Though the stylistic manner of the film is really much more tied to Robert Bresson and some of Michael Haneke's earlier work. I can also sense some inspiration coming via the way of Michelangelo Antonioni's work (particularly "Blow Up" and "La Notte"
Once the viewer adjusts their own frame of reference, Colvin's film takes hold and results in a surprisingly intense little thriller.
The concern here is on how "reality" is "perceived" within the context of what is captured in a frame of film. This idea is communicated not only in the reality of the leading character's view of his world, but in the view that Colvin provides to the audience.
The film's actors prove to be quite effective in adapting their performances to fit within the context of style. Their performances are almost avant-garde as "truth" is communicated in specifically nuanced and almost emotionless ways.
The film continually references Hitchcock's "Rear Window" in interesting ways that serves as connection to limited information leading to what a character perceives to be "truth" --- Though the stylistic manner of the film is really much more tied to Robert Bresson and some of Michael Haneke's earlier work. I can also sense some inspiration coming via the way of Michelangelo Antonioni's work (particularly "Blow Up" and "La Notte"
Once the viewer adjusts their own frame of reference, Colvin's film takes hold and results in a surprisingly intense little thriller.
