Review: 'Billy Bates'
I wish I could have been inside director Jennifer DeLia's mind as she was making Billy Bates; not only is it a colorful overload for the senses, it's a wonder how she kept track of everything. This film, set in New York and produced by Julie Pacino- yes, daughter of Al- is the epitome of an avant-garde, art-house performance piece. Centered around a struggling artist/ photographer and titular character Billy Bates, the film begs the question: "When life imitates art, where does it all begin?" After successfully watching the film, my answer to that question is still: I have no idea.
The movie is a giant question mark with no answer, much like the literal wording of the script. Billy (James Wirt), a disheveled man in his late twenties (I'd imagine) is asked a series of theoretical questions in an interview-like fashion throughout the film. The questions are extremely intimate, such as asking if there are such things as soul mates, or remembering what his dead mother smelled like. While these thought-provoking questions are sprinkled throughout, there is a somewhat linear story that takes place.
Kaia puts on a blue bob wig à la Scarlett Johansson in Lost in Translation during their romp. It's purpose is never revealed, but I'd have to guess it's because that's "artistic."
As to be expected from this art-house genre film, creativity is pushed into outer-most boundaries. Billy befriends, and later seduces, a singer named Kaia (Savannah Welch) who seems to be his ideal manic-pixie dream-girl. She floats the idea that themes the film- that artists always stand in their own way- leading to a self sabotage that Bates can relate to. They connect on a personal level when they have sex (which doubles as an emotional torture session for Bates) as Kaia forces him to revisit memories of his dead mother and abandoned father, which eventually leads to a stay at a mental institution. Kaia puts on a blue bob wig à la Scarlett Johansson in Lost in Translation during their romp. It's purpose is never revealed, but I'd have to guess it's because that's "artistic."
Billy Bates is not for the faint of heart; it's gritty and raw, much like how I would expect an acid trip to feel like. Kaia is one proponent of Billy's struggles, and as he unleashes his pent-up frustrations physically, the rest of the film plays more of internal. Kaia leaves and Billy is left alone. The literal darkness lasts the entire film; visually we are thrown into a pallet of different hues of blue and black and white images. Emotionally, there is no joy or lightheartedness coming from this tortured artist.
For now, only the lucky residents of New York City will be able to catch Billy Bates as it's only playing in select theaters. There's no doubt that this film will make its way to Los Angeles soon enough though, and it would make for a great midnight movie put on by Cinefamily at the Silent Theater. Honestly, though, I can't say you're missing much.
http://vimeo.com/40361435
Review: 'Remote Area Medical'
It looks like a scene from a Coachella weekend; thousands of people camping in cars, sleeping in tents in empty parking lots and enjoying general tailgating activities. While on the outside this looks like a fun event, it's actually a look at a tough reality. Directors Jeff Reichert and Farihah Zaman capture the story of a healthcare crisis that hits close to home for too many people in the documentary Remote Area Medical- not being able to afford a doctor and resorting to charity outreach as a primary source of healthcare. In this eye-opening film, we get an intimate look at a Tennessee clinic's operation for three days and experience first hand the hardships that many Americans encounter to receive basic medical care.
From the beginning, we are introduced to people with a variety of health concerns, whose sole mission is to be seen by a doctor. Remote Area Medical is an organization that travels to various towns and assists in weekend-long healthcare clinics that are free to whomever shows up and in this film, they travel to Bristol, Tennessee, the birthplace of country music. Since the towns they travel to have higher populations of uninsured people or those who can't afford to drive to a doctor's office, these clinics are overcrowded. Because of the high demand, R.A.M. volunteers pass out tickets on a first come, first serve basis. To ensure a spot in line, and an appointment with a doctor, some people camp out in cars for three nights prior to the clinic's opening.
While it hurts their pride to be waiting in line like cattle to undergo a routine health exam, the truth is that their self-esteem is significantly higher after leaving the clinic
It is not a glamorous situation, and Remote Area Medical doesn't try to convince us otherwise. The flaws in the organization are acknowledged and then passed over. Politics or statistics are not mentioned, this is not a propaganda type film. It is people-driven whose story on its own is enough to want to evoke a change and find out more about this organization.
These people are not victims, and they are not painted as such, but they do evoke extreme sympathy. For many, R.A.M. is the only way they can see a doctor, dentist, or optometrist, and the pure gratitude and joy that they feel after leaving the clinic is heartwarming. While it hurts their pride to be waiting in line like cattle to undergo a routine health exam, the truth is that their self-esteem is significantly higher after leaving the clinic. It's a psychological sacrifice every one of them is willing to make.
Unfortunately, that fact is that the "Remote" in "Remote Area Medical" isn't totally accurate; the people in need come from all over the United States, from places where doctors should be readily available. Even though we are supposed to be living in "the land of opportunity," R.A.M. founder Stan Brock points out that with the limited medical access in these towns, these people might as well be living on the moon. What Reichert and Zaman portray in this film is that the problem is local, but fortunately, Remote Area Medical is proving to be extremely effective. And while charity will never replace an official healthcare system, the benefits that this organization provides, as reflected in this documentary, will hopefully grow its availability by leaps and bounds for those who depend on it. One thing's for sure, I've never seen someone so happy to see the dentist until I saw this film.
https://www.youtube.com/watch?v=R6Jb4PQ4PZs
Review: 'Girlhood'
Girl power comes from French cinema in this classic coming-of-age story; female-centric and empowerment driven Girlhood is centered around 16-year-old Marieme and her struggles with peer pressure and self-discovery. While the tale may be repetitive, director Céline Sciamma gives fresh visuals and dramatic flare to the film, which is captivating from the very start. Set in the lower class suburbs of France, Girlhood is as much an emotional journey as it is a visual one and a satisfying film from beginning to end.
Karidja Touré makes her acting debut as Marieme, a recent school dropout and lost soul. Growing up in a dysfunctional home, Marieme is forced to act older than her 16 years. She looks after her two younger sisters while her mother works the night shift doing janitorial work to make ends meet. Her subsequent lack of focus in school causes Marieme to lose her chance of getting accepted into high school, and her dreams of a normal life are shattered. Just as it seems her life is over, she meets Lady (Assa Sylla), Adiatou (Lindsay Karamoh), and Fily (Mariétou Touré), three older girls who recruit Marieme to be the fourth member of their "cool girl clique" and, unbeknownst to everyone, change her life for the better.
Girlhood is as much an emotional journey as it is a visual one, and a satisfying film from beginning to end.
The girls are tough- they are a part of this unspoken underground girl gang that gets into fights with others and don't play nice. Despite their tough chick attitudes, their street style is completely envious (to Marieme and, admittedly, me). Over the course of a few weeks, the girls take Marieme under their wing and transform her from the homely looking girl with long braids and drab clothing into the sleek hair, leather jacket wearing, high top sneaker strutting, fashion conscious "it girl." The clothes aren't the only thing that transform Marieme; over time, it becomes clear that these girls have become like a surrogate family to Marieme, as her own dysfunctional one doesn't get any better. Upon striking up a relationship with her brother's friend, Marieme is forced to make a life-changing decision to take control of her life, and doing only what's best for her.
Girlhood, which, by the way, is not a female answer to Richard Linklater's Boyhood, is very performance driven and an actor's dream. Karidja Touré carries the film on her small shoulders, projecting various emotional moments with strength. One scene in particular is very special to the film; the four girls rent a hotel room and get all dressed up in formal wear to just hang out with each other and drink alcohol. Eventually, they play Rihanna's "Diamonds" and begin dancing away their problems from the outside world. This moment in the film is captured so beautifully, it could have (and should have) been Rihanna's official music video. The blueish tones of the room, the general feeling of sisterhood, and the miming of the lyrics while dancing around in beautiful dresses show the girls' dreams of a better life, but making the most of what they have in that moment. It's a very powerful scene, which ultimately gives Girlhood its authenticity as the perfect portrait of the undeniable complexity of adolescent life.
https://www.youtube.com/watch?v=PqeBXrNZpto
Farihah Zaman, Jeff Reichert on 'Remote Area Medical'
It's kind of ironic, I had to take my boyfriend to the hospital Tuesday night, right in the middle of watching this film, and so I watched the second half of the film from a hospital waiting room. It's not that I could relate better to the people in Remote Area Medical after having to wait six hours to be seen by a doctor, but it made me appreciate healthcare in general so much more. Remote Area Medical tells the story of the organization whose mission is to help those who cannot afford to visit the doctor or dentist. Directors Farihah Zaman and Jeff Reichert execute a powerful film that shows both the overwhelming amount of people who need help, all the while keeping their stories intimate. In our exclusive interview, I talk to Farihah and Jeff about their experience making Remote Area Medical. We begin:
CAN YOU DESCRIBE THE ENVIRONMENT AT THE ARENA? IT LOOKS LIKE COACHELLA FROM THE OUTSIDE- PEOPLE ARE CAMPING IN TENTS AND CARS.
FARIHAH ZAMAN: It is utterly overwhelming, particularly because of the venue. You're in a NASCAR speedway which is like a palace to recreational glamour, and here are people camping out, desperate for healthcare. That irony is never lost on you when you're there. Even before we started filming, when we volunteered, there was also some good humor. One of the important things we learned in making the film is that people are not just a summary of their worst problems. That Coachella reference is kind of funny, but kind of true- people were tailgating, flipping burgers, and playing card games. To see that camaraderie tells you a lot about the community in addition to just the need that's there.
DID YOU FIND IT DIFFICULT TO GET PEOPLE TO TALK TO YOU?
JEFF REICHERT: If we as filmmakers try to be really careful about checking out a situation first, not just running up to people. When we saw people we though were interesting, we would put the camera down and walk up to them, like 'Hi I'm Jeff and this is what we're doing.' Once people realized we were there not to just get pictures of poor people waiting in line for care, and that we were interested in them beyond their health problems... we had almost no problems getting people to talk to us and open up. We talked to them about their jobs, their work, what they were like as teenagers, how the met their spouse, etc.
THERE IS ONE MOMENT IN THE FILM THAT'S A LITTLE UNCOMFORTABLE- A GIRL IS TRYING TO GET A NUMBER AND LIES TO A R.A.M. VOLUNTEER. DID YOU ENCOUNTER FEELINGS OF UNCOMFORTABLENESS WHILE SHOOTING?
FZ: I was reminded repeatedly throughout the shooting experience that this is what people have to do to go see the doctor. It's not right. What I found upsetting, but also interesting about that moment in the film you're talking about is that you have compassion for every single person involved. I definitely didn't envy (R.A.M. volunteer) Theresa who has to hand out the last ticket or tell somebody they're not getting in. I feel for that girl because even though she tried to cheat the system, if you were in her position maybe you would do the same thing. I mean, I think I might.
Once people realized we were there not to just get pictures of poor people waiting in line for care, and that we were interested in them beyond their health problems... we had almost no problems getting people to talk to us and open up.
IT'S GREAT THAT YOU BROUGHT REMOTE AREA MEDICAL TO OUR ATTENTION WITH THIS FILM- I PERSONALLY DIDN'T KNOW IT EXISTED. WHEN DID YOU BOTH BECOME AWARE OF R.A.M.?
JR: It was in 2010 when we first heard about the organization through my Aunt, a retired nurse. She saw a special on 60 Minutes and she felt completely compelled to volunteer at a clinic in Tennessee. When she came back home (to New Jersey), she said it was the highlight of her nursing career. She said everybody, medical professional or not, should go and help out. [Farihah and I] went down to a clinic in Kentucky in 2011, and we got the bug there. Seeing all the good that people can do, we though, 'Oh there is a movie in this.'
THE SENSE OF TOGETHERNESS AND COMMUNITY IS SO STRONG IN THIS FILM, WHAT WAS YOUR EXPERIENCE LIKE?
FZ: Because of the small budget, the crew stayed in a vacation rental nearby in Tennessee. We had twenty people in one house! Jeff's cousin came out and would make dinner for the crew every night because we thought that would be more comforting in a way. We put up a lot of organizational systems that mostly worked, shockingly...haha. We also had to be open to the idea that they might break down at times. We had to just roll with the punches because there is so much happening at any given time. In the end, I think we're really glad we made it the way we did, especially because the film ended up being so much about community. One of the things we really loved about R.A.M. is that they don't just come in, pour some money into the community, and then leave; Not only do they provide these services, you really see people band together and that was even more powerful.
JR: Yeah, I think the hardest part was convincing Remote Area Medical that we could do this movie, without jeopardizing their mission. They're very sensitive about being criticized in any way, shape or form. We emailed the general email address [about wanting to make this film] and [founder] Stan Brock emailed us back 20 minutes later like, 'No way, no how, we're not going to let you do this.' The whole next year was spent talking to them and explaining to them what it might look like, who we were, what our background was. It wasn't even until a couple months before we were planning to shoot that we actually got the final OK.
HAVE THE PEOPLE AT REMOTE AREA MEDICAL SEEN THE FILM?
FZ: They have, we've maintained a good relationship with them. Stan has tried to come and do press whenever possible, even though they have a very rigorous schedule. We really appreciate their support, given the fact that we don't hide the flaws of the organization. You have to show that charity is not a viable substitute for a functional healthcare system.
YOUR DECISION TO GO WITH COMPOSER DAVID WINGO WAS AWESOME, I LOVE HIS WORK.
JR: David is actually an old friend, he did the music for my first feature, Gerrymandering, where we settled on this idea of having him do various covers of American patriotic anthems. For this film, he wanted to think about Appalachian music. Where we filmed is the birthplace of country music, and we wanted that reference in the movie as well.
FZ: And actually if you're curious, the models you see in the end credits- there's a Country and Bluegrass Music Museum in the Bristol, TN mall and it's amazing. They have all this incredible history that's just casually put out in this tiny place. There was a scale model of the town of Bristol in this museum, and that's what we ended up filming.
Review: 'Life Partners'
If you're looking for the female equivalent to a bromance film, look no further than Life Partners. Susanna Fogel makes her directorial feature debut with a film about friendship and love- and it's anything but conventional. Actress turned-recent rocker Leighton Meester (Gossip Girl) and Gillian Jacobs, best known as Britta on NBC's Community, bring humor and girl power to Fogel's charming story, making it the perfect movie for a girls night out, or in (if you're into that sort of thing).
Sasha (Meester) and Paige (Jacobs) are best friends. Both nearing 29 years old, they have always had each other to complain about bad dates to and watch America's Next Top Model with- that is, until Paige gets a boyfriend. This seems like typical girly high school drama-fodder, but for Sasha, losing Paige hurts a lot more than she lets on. Sasha is a lesbian and her relationship with Paige is much like sisters (it has always been platonic and nothing more). They know each other's secrets, favorite television shows, and bottle of wine; for Sasha, losing Paige is like losing a part of herself.
Another thing this film has going for it is its soundtrack– lo-fi bands like Tennis and Lowpines ground the film's Southern California vibe and keep the tone of the story chill, yet engaging.
Yes, Sasha is gay, but in the big scheme of the story, that really doesn't matter. This is a story about friendship and the strength of the female bond, regardless of designations like "gay" or "straight." That being said, Meester takes on the more challenging role here, playing Sasha with an upped masculine side, but not too much so that she turns into a caricature. Life Partners could have easily gone in the daytime soap opera direction, and thankfully it doesn't. When Paige introduces her new boyfriend Tim (interestingly enough, Meester's real-life husband Adam Brody) to Sasha, the jealousy stems from losing a friend, not from losing a potential lover. Fogel captures this moment any new boyfriend is introduced to the BFF for the first time with humor and charm.
Another thing this film has going for it is its soundtrack– lo-fi bands like Tennis and Lowpines ground the film's Southern California vibe and keep the tone of the story chill, yet engaging. A quick viewing of the trailer sums up these musical talents sprinkled throughout the film.
As to be expected, this story has a happy ending. The character arcs are universally relatable; for Sasha, it's understanding that while everyone grows up, that doesn't mean they out-grow friends. For Paige, a fight with Tim leads her to realize that her need to always be right will never end well, especially in relationships. It may not be boundary pushing, or revelatory cinema, but Life Partners is easy digestible, inoffensive and just a charming film. The performances are good, the script is solid, and the message is true: best friends are forever.
https://www.youtube.com/watch?v=6CPg7UJIS5I
Review: 'Felt'
Wow, where do I begin? Well, I can start by saying this is not a good first date film, or one you'd want to see with your parents. Despite its etherial visuals and seemingly innocent mumblecore-driven scenes, Felt is an art house-meets-horror film that's equal parts kooky and creepy, and not in the best of ways. An unnerving and unusual film dealing within the genre of rape/revenge culture, Felt is an unobtrusive look into the world of a young adult who makes her way through life by, after experiencing such a tragic event, adapting a male alter-ego, which is her way of coping with a form of PTSD that affects everyone around her. It is an extremely large pill to swallow that will definitely leave you with images you wish you could get out of your brain.
In her sophomore film, artist Amy Everson (www.amyeverson.com) plays Amy Everson, a San Francisco based artist who is struggling with depression. It's unclear what specifically traumatized her, but it becomes blatantly obvious that it was of a sexual nature. I make this assumption because for half of the film, Amy is dressed in a full-length nude leotard with drawn on nipples, a cut up facemask and a faux penis. She converses with her friends in a man's mask, she wanders through the forrest as a "male," and even creates an overly large vagina out of fabric and wears it over her underwear during a nude photo shoot. Yes, it is shocking, but its authenticity is hard to validate- clearly Amy's desperate to escape reality, but it's unclear how much of her actions are honest and how much are for show.
The shock factor is high, every scene adds even more tension, but look past the faux penis and we're left with a story with no emotional attachment to our main character, no conclusion to her actions, and ultimately, no point.
Amy goes from sympathetic to grating as she progressively becomes more disheveled. When she befriends a boy named Kenny (Kentucker Audley), she introduces him to her art pieces, including: a Hitler fetus, ceramic plates of a man spreading his buttocks, a gas mask, and underwear with a faux banana hanging from the crotch, among other oddities. If the goal is female empowerment, then her message gets lost amongst the genitalia hanging from her bedroom. She explains that her art is a reflection of the struggles of being a female, but the excessiveness of sexuality in this film is overwhelming to the degree that it is hard to take anything or anyone seriously. Unfortunately, in its quest to be shocking, Felt comes up short. As a stand alone visual performance piece, however, Felt is spot on.
It's easy to see why this film had a successful run during the festival circuit, its appeal as a true independent film is there. The cast is made up of mostly all amateur actors, a majority of which call Felt their film debut. Jason Banker, the film's director, is also the producer, editor, cinematographer and screenwriter. The script certainly pushes past comfort and convention and into the territory of discomfort, while remaining light and highly improvised. Hearing synth-pop artist Grimes in the soundtrack certainly ups this film's hipster/alternative cred, but at the end of the day, it's mostly just smoke and mirrors. The shock factor is high, every scene adds even more tension, but look past the faux penis and we're left with a story with no emotional attachment to our main character, no conclusion to her actions, and ultimately, no point.
My theory is that Amy Everson is attempting to fill Miranda July's quirky shoes in terms of style- both women were/are performance artists before turning to acting and have used the non-actor approach to filmmaking to create really interesting movies. To her credit, Amy is fearless, fully committed to a character with her same name and occupation. Personally, I would find it more interesting to go behind the scenes of the film and discover the real Amy Everson, leaving the naked bodysuit behind. Until then, we're given this fireball of a film, this psycho-sexual drama that is sure to disturb any sense of normalcy in your day. You can't say I didn't warn you.
https://www.youtube.com/watch?v=rr59LitGL1k
Review: 'A Girl Walks Home Alone At Night'
If you were to hear a film's description as a black and white, Iranian-Western Vampire noir, spoken in Farsi with English subtitles, your natural reaction would probably have been similar to mine: puzzled, humored, and super intrigued. Thanks to the creative and artistic vision from Ana Lily Amirpour- the film's writer, director, and producer- A Girl Walks Home Alone At Night brings a unique voice to the current state of cinema and a wildly entertaining film to the big screen.
A Girl Walks Home Alone At Night, executive produced by Elijah Wood, has that "art school" vibe that can be interpreted as "superficial," but that's far, far from the truth. In fact, it's the first ever Iranian-Western Vampire film ever made (which, actually, may not be all that surprising). Playing out like a spaghetti Western, the desolate ghost town of Bad City lives unaware of a danger lurking on their streets at night. Seemingly innocent by her quiet demeanor and stylish look, the girl, played by the beautiful Sheila Vand, is a lonely and blood-thirsty vampire who preys on the men in her town. It is when she meets a local boy, Arash (Arash Marandi), that she first begins to discover emotions that she has never experienced before, like trust and self-control.
I'm going out on a limb and saying that never before has the use of black and white photography, a film's music, or the use of a cat- yes, cat- been put to better use than in A Girl Walks Home Alone At Night.
The film, much like how I'd imagine Amirpour to be, is organically cool and not in the least bit pretentious. Yes, the vampire girl listens to cool records in her studio apartment/layer, she skateboards down the empty streets and dresses like an American Apparel advertisement, but Amirpour makes her desirable, not distasteful. The hauntingly beautiful imagery plays perfectly against the moody backdrop that is Bad City; the dialogue is sparse but purposeful. This is simplicity in its rawest form- everything from the actors to the cinematography is visually arresting and drool-worthy.
I'm going out on a limb and saying that never before has the use of black and white photography, a film's music, or the use of a cat- yes, cat- been put to better use than in A Girl Walks Home Alone At Night. The black and white is completely for artistic value, the film would not have had the same effect had it been shot in color. In fact, the film's soundtrack has been the topic of conversation in many interviews with Amirpour, praising the unexpected trancelike sounds of the Middle East and the western-inspired Portland based Federale. The music here is really like an additional character, full of life and energy that is the perfect juxtaposition to the black and white landscape. And the cat- the last shot of the film explains everything. How there is not a tiny little person inside of a cat suit blows my mind.
The less you know about this film, the better. I went into it knowing nothing- just the description which, as I mention earlier, intrigued me. If you take away one thing from this review, let is be that this is a film that should be seen by anyone interested in making a film, directors especially. As her feature film debut, Amirpour proves that it's not about how big the budget is or getting big name "celebrities" to star, it truly is about a good script and a clear vision. Although commercial success seems unlikely, that doesn't make A Girl Walks Home Alone At Night any less of a masterful, high-style horror film.
https://www.youtube.com/watch?v=_YGmTdo3vuY
Review: 'Lost Songs: The Basement Tapes Continued'
With its premiere on premium cable channel Showtime this Friday, Lost Songs: The Basement Tapes Continued takes one of the most influential artists of all time, Bob Dylan, and gives new life to his old work, a concept which will no doubt make its mark on the music industry in a legendary way. It has no set theatrical release date yet, and it's doubtful if it will ever get one, but that doesn't make Lost Songs: The Basement Tapes Continued any less of a film worth going out of your way to see.
Lost Songs is a musical love letter to Dylan and his writing, and the brainchild of musician and producer T Bone Burnett. After coming across newly discovered lyrics from Dylan written back in 1967, which were famously called the "Basement Tapes" (written shortly after his motorcycle accident and infamous Woodstock performance), Burnett decided to turn these words into songs. Assembling today's top folk musicians from across the board, they call themselves "The New Basement Tapes." Elvis Costello, Marcus Mumford (Mumford & Sons), Jim James (My Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops), and Taylor Goldsmith (Dawes) use these lyrics as inspiration for creating original songs in their own signature styles, respectively. Bringing their unique strengths and songwriting abilities to the Capital Records recording studio, the band is given the challenge of making a record in two weeks. Let the chaos and creativity begin.
Johnny Depp even makes a cameo on the electric guitar in the song "Kansas City"- one of the films more memorable songs which you can (and should) watch here.
There is no shortage of inspiring moments in the film. To start, we as the audience are given a private look into the writing and recording process, which is not as glamorous as one may think. Director Sam Jones doesn't hold back in capturing the stress Mumford endures to write the perfect song or the emotional heartbreak Rhiannon feels as the song she was working on falls flat during the recording. The pure talent in the room is mesmerizing; everyone plays multiple instruments on the record, and seeing them effortlessly move from one instrument to the next will leave anyone awestruck. Johnny Depp even makes a cameo on the electric guitar in the song "Kansas City"- one of the films more memorable songs which you can (and should) watch here.
For all of its musical talent, the film isn't just a spectacle of performances; Jones carefully balances the recording process with the true Basement Tapes back story with the aid from a rare and exclusive interview from Bob Dylan. While he isn't shown on camera, he narrates to the archive of pictures Jones supplies of Dylan and his band in the 60's.
The camera is a quiet observer that gives the film the right amount of dramatics in an organic way. Absolutely nothing is forced or contrived; the tear Marcus Mumford sheds after playing is real! That's the overflow of emotions one can expect to feel after watching this film; it touches the soul deeper than you'd think. Lost Songs: The Basement Tapes Continued conquers many things in its seemingly innocent production. Not only does it highlight the great and everlasting influence of Bob Dylan in the music industry, but it also personalizes the modern musicians who participate in making this film, and gives the audience the opportunity to connect with them on a deeper, more emotional level. The last line in the trailer states, "What is a song? A song is limitless," and no truer words have been spoken after watching this intimate and powerful documentary.
https://www.youtube.com/watch?v=-X3hdFWmerQ