Outsider Features: American Independent Films of the 1980s by Richard K. Ferncase

By Richard K. Ferncase

In the early Eighties, severe American self reliant movies together with Stranger Than Paradise, Blood Simple, and She's Gotta Have It attracted ever-widening audiences, culminating with Steven Soderbergh's award-winning sex, lies, and videotape. This movie, which received the Cannes movie Festival's best award and took greater than $30 million on the field workplace within the usa on my own, capped a striking decade for off-Hollywood filmmakers. Outsider Features takes an in-depth examine 10 of the main winning autonomous characteristic movies made in this decade, from John Sayles's seminal and groundbreaking The go back of the Secaucus Seven to Michael Moore's wry and irreverent Roger & Me, the main profitable non-music documentary ever made. Outsider Features deals money owed of the genesis of every movie, entire synopses and important analyses, and biographies of every filmmaker.

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T. and Frances thumbwrestle, Katie orders a bottle of light beer, and Chip and Jeff have a heated political discussion as the crowd drowns them out. One of the film's few dolly shots follows Katie as she carries the beers back to her table; Howie, Ron, and Mike reminisce about high school friends. J. T. and Jeff strike up some conversation with two women, but Jeff backs off and they leave to go to the lady's room. Ron, Mike, and Howie do an amusing take on an auto racing commercial until Howie is paged by his wife.

The landlord provides a way out for the girl, offering her a choice between two doors: 36 • Outsider Features one leads outside, the other to his bedroom. Of course, the daughter understands the ruse—that both doors in fact lead to the bedroom. " Over a closeup shot of rippling water, Jo thinks aloud: This mystery is appropriately Chinese: what's not there seems to have just as much meaning as what is there. The murder article's not there, the photograph's not there, the other woman's not there, Chan Hung's not there, nothing is what it seems to be.

9 It is fitting that Sayles himself has eschewed upward mobility in the film industry, determined to dictate his own terms as a filmmaker who still holds ideals others have long abandoned. In so doing, he has become a paradigm of the committed filmmaker. NOTES 1. Kent Black, "A Man and His Myth," Los Angeles Times, February 5, 1995, p. E5. 2. He once proudly pointed out to an interviewer that he "came from a working-class family and went to a working-class high school in a working-class city"; see Black, "A Man and His Myth," p.

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