Professional motorcycle racer Bud Clay heads from New Hampshire to California to race again. Along the way he meets various needy women who provide him with the cure to his own loneliness, but only a certain woman from his past will truly satisfy him.
After being released from prison, Billy is set to visit his parents with his wife, whom he does not actually have. This provokes Billy to act out, as he kidnaps a girl and forces her to act as his wife for the visit.
Promises Written in Water is an extremely stripped down abstract romantic story of a man and a woman, both in crisis. Kevin (Vincent Gallo) is a long-time, professional assassin, ... 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.
In Paris, a young American who works as a Michael Jackson look-alike meets Marilyn Monroe, who invites him to her commune in Scotland, where she lives with Charlie Chaplin and her daughter, Shirley Temple.
After racing in New Hampshire, the lonely motorcycle racer Bud Clay drives his van in a five-day journey to California for the next race. Along his trip, he meets fan, lonely women, prostitutes, but he leaves them since he is actually looking for the woman he loves, Daisy. He goes to her house and leaves a note telling where he is lodged. Out of the blue, Daisy appears in his hotel room and soon he learns why he cannot find her.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The region-1 (North America) DVD version of the film contains about 304 shots in just under 92 minutes of action. This equates to an average shot length of approximately 17.9 seconds and a median shot length of approximately 18.6 seconds. This contrasts with most contemporary Hollywood films that usually contain a few thousand shots and average shot lengths of around 2 to 5 seconds. See more »
When Bud speaks to Daisy's mother, a glass on the table appears and then disappears between shots. See more »
Since its world premiere at Cannes the movie has been re-edited although the sex scenes remain intact. The version that premiered theatrically in the US is 26 minutes shorter than the Cannes cut. See more »
I can respect any filmmaker that steers away from typical Hollywood conventions. It's not hard for a minimalist film to look so enticing when the majority of films produced are laced with big budgets of eye candy and formulaic plots.
The Brown Bunny should be admired for its risky non-narrative style. It caused furious reactions at the Cannes film festival which obviously helped generate lots of press and attention. Fans of the avante-garde will have to think "Oh! Its one of those films! The critics didn't get it. It must be ahead of its time!" That may be true but what's unsettling about the reviews is that they influenced director Vincent Gallo to cut the film in half leaving it more concise and marketable for mass audiences. Well I don't like to form opinions based on unnecessary gossip but I can't help but be bothered by it. If Gallo were a visionary filmmaker why would he drastically re-edit a film just after its premiere? I know this has happened many times with other directors but there is a part of me that has a hard time taking Gallo seriously. It's not his acting. I can see he has a quality that is rare and unique to most other contemporaries. His beautiful acting range is evident in his previous film "Buffalo 66". I just sense from his egocentric attitude of being the star, writer, director, producer and the fact that he's in 95% of every shot in the film, that he is just being creatively oblivious.
Most artists will tell you that self-portraits are the most difficult subjects to tackle because they involve erasing your preconceived notions about who you think you are to showing how everyone knows who you are.
Nobody said that "The Brown Bunny" is autobiographical but it certainly feels personal. This film reminded me of Dennis Hopper's "The Last Movie", an unfinished existential sequel to the 1969 film "Easy Rider". Hopper and Gallo seem similar in their egos and their American cowboy persona's but there seems to be a void here. I'm not sure a longer movie would be the answer. All I know is that Vincent Gallo's character Blake should look more pathetic and less cool to his audience. I may see this again and see something different. For now, I am tired of seeing another road movie that really looks rehashed and broken down for its artistic value. This just doesn't feel self conscious. It feels clueless and arrogant.
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