Movies
Excision
“It’s like a Shakespearean tragedy without the Shakespeare. In the end, all of the subconscious craziness in ‘Excision’ is just an unnecessary afterthought tacked onto an insightful coming-of-age story.”
Quirky coming-of-age comedies are the bread-and-butter of the Sundance Film Festival. They’re part of a storied tradition that includes titles like Tadpole, Welcome to the Dollhouse, Stolen Summer, and Son of Rambow, but where does an occasionally trippy and disturbing comedy like Excision fit into this storied tradition? Like the best coming-of-age comedies, it’s awkwardly funny and painfully relatable…when it’s not shocking you with Tarsem-like dream sequences featuring gouts of blood and midgets in diapers. But I’ll get to that in a minute. Like 2007’s Teeth, it’s a Sundance comedy that defies easy categorization.
18-year-old Pauline is the film’s juicy center of indie-film adolescent angst. With her hooded eyes and cro-magnon eyebrows, she’s definitely ugs. (The foxy AnnaLynne McCord wore a series of prosthetics for the role.) Bullied at school and ridiculed by a domineering mother (Traci Lords), Pauline is desperate for new friends, but her attempts at friendship are rejected at every turn. She’s just too goddam ugly.
As a parable of adolescence, Excision is very cleverly observed. It’s riddled with the staples of indie teen comedy: menstruation, virginity, a struggle for sense of self. In fact, Excision serves as the textbook depiction of cinematic teen anguish. So then why make the choice to inter-cut all the awesome melancholy with crazy-ass dream imagery? And why build such meticulous characters only to end it all in a screechy, bloody finale? It’s like a Shakespearean tragedy without the Shakespeare. In the end, all of the subconscious craziness in Excision is just an unnecessary afterthought tacked onto an insightful coming-of-age story.
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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