,Slosan REC“Starring a documentary Shia Labeouf And his mental trauma is not a good film. But one of the films is a time of artwork that is now against films – a pathological and vampireist celebrity culture that sucks all the air out of the room. In 2018, Labeouf posted a video on Twitter that announced the formation of a free weekly theater workshop that will be found every Saturday at the Slosan Recreation Center in South Central Los Angeles. Hundreds of people showed it, lured by magnets of Laboff’s name. One of them was Leo Lewis O’Neel, a young man who was not interested in being an actor, but who voluntarily worked to record the workshop on the camera. In the next three years, he presented hundreds of hours of footage of Laboff and his followers, writing and rehearsing many “plays”, writing and rehearsing, and submitted to a nightclub and eventually, in a dusty parking.
The film O’Neel is excluded from this footage together, which was a premiere in Cannes last night, a slovenly and undisciplined piece of work by any real -world standard. The “Slosan REC” is two and a half hours long, and it is slightly higher than an endless controversial diary-like Rambal. Nevertheless, it also works as a Verite exploitation film, because only one thing that is really interesting in it is looking at Shia La Beeoff Parade as a kind of acting guru and mentor, only to get into a fast -rage and derogatory and unwanted place that leaves us with a deep question, “Is it going to the name of domination?”
Let’s clear: Shia is not a bioff Now! Someone needs a deep need for anger-management therapy. He is an extraordinaryly talented actor (I was reminiscent of it a few weeks ago, when I reviewed his tremendous performance in the film David Mammate “Henry Johnson”), And he is also the definition of a charismatic person. In “Slosan REC”, whether it is helpful or hell, you cannot get your eyes away from it. They have a staring of burning intensity and a hyper-articulate blunt showmanship that grows out of that quality. (They also have a penchet to play facial hair that seems to have come out of a dress shop.) In the documentary, she is always there ButAlways creating everything about him, with the underlying belief that he is the most arrested person in the room.
Initially, we give him the benefit of doubt, as he employs his charisma in a generous way (voluntarily to inspire a group of people in the south middle). His unstable acting showmanship feels that it is part of a tradition, which is pulling all the ways to Lee Strasbourg and Steel Adler and incorporating the performance of the late-It-All-Hang-Outs, acting-e-Eastuellease cheese, which defines the experimental theater movement of the late 60s. Slosan REC Theater uses, as La Beeoff explains, is an attempt to gather people together and give them a club, a community, an artistic laboratory, a family. And to go with whatever La Bioff in the eagerness of the participants, we feel that they feel the desperate hunger they have to do. Labeouf is not just showing them how to act. He is giving them hope.
From the beginning, however, you may be surprised, in fact, he is out to complete creatively. He speaks of a good game, like a dramatic cult leader, but he has a “prepared theater” participants to the participants, which comes down to a kind of ritual group’s body-tapping and choreographed aerobics after a while. It seems that they are doing a wide range of warm-up exercises, which are fine in the initial weeks, when they are just knowing each other. But once they are on it for months, it becomes clear that Labeouf does not really have a plan. He is just throwing luggage against the wall, using his intoxicating psychodramatic acting-coexist and hard-love “I’m doing this for you!” Personality anything and everything to convert into a “encounter session”. And given that they are not professional actors, or even (in most cases) who aspire to be, the words of Labouf are pumped with an intensity that seems overwhelmed and inappropriate.
And that is First He starts flying his fuse. Once when the epidemic becomes a hit, the Slosan Recreation Center takes out the group (at this point, they have melted to about 50 people), and they blow with two tables below a red tent, surrounded by a chain-link fence while rehearsing with a mask under a hot la sun in an anonymous dusty parking. The place becomes their sun -prison (and ours). They have already put on a “play”, which looks, which we see it, like a glorious hip-hop open-mic night. Now they are writing a follow-up and rehearsal, some types of multimedia action-theater pieces titled “5711 Avlon”, although the film never gives us a half way to what it is.
Yet the more sketch and targetless sloson becomes REC Troop, the more Leboff seizes the notion that the members are not living what they are going to do. They gloomy He (but only because he cares a lot). He targets a member, a 22 -year -old child named Zeke, who looks like the most beloved man, and La Beeoff begins to hurt him like a drill Sergeant who has taken out his patty. “That brother -in -law doesn’t play” James Dean with me, man, man, “he says. He also says, “If you make my life better, I love you. If you make my life worse, I do not love you. This is how I am made!” And “This is really the last of refinement! You really need to pay attention to this dirt!” and I said KhisianaYou have said what you have said what you have done? ,
Labeouf announced in the film that he is an alcoholic, and he speaks at a point, how he is always beating himself in his mind. But this is not confident at all. He has far away his shirt, stopping the chest tattoo wall to make the film “The Tax Collector”, and we start noticeing that he is shouting all the time, as if the fate of the world was hanging on how effectively he can achieve this ragtag bunch of people. Nevertheless, we cannot even tell whether they are doing it well or doing it badly.
And it is so unstable about Leboff’s rats, their tantrums, their meltdown. This is not just that he is becoming derogatory to these people (physically at several points). It is that its entire shame spectacle starts feeling meaningless. “Bindu,” of course, this is that we are getting to see a famous star in the event of a breakdown. And the tabloid pathology of “Slosan REC” is that when he is acting outside, being a dick for these helpless people who have kept his trust in him, the film is busy converting his self-destruction into theater.
Just when we feel that his misuse of poor Zeke could not be worse, La Bioff attracted his attention to Sara, a member of a congregation whose mother is ill. He starts harassing her, and after her mother dies, she informs her that she wants her to stop playing a role in her game, as she has decided that she is “not right for the part.” In this meaningless Shambolic parking-three-quarter mess? He will say that it is worse than harsh – for our eyes, it is sad. And it just thinks us: why are we watching it?
I will bet that the commercial possibilities for “Slosson Rick” will fall somewhere between the dim and zero. Filmmaking, which drugs on “Day 56,” with auxiliary titles just after “day 56”, removes energy from you. Nevertheless, the film has a clules ego to present himself as a redemption story – not for members of Slosan REC Troop, but for Shia La Beeoff. When he is killed with a legal charge of domestic misconduct, he just leaves the congregation. He does not show a day, and it is, it is over. But the film ends on an interview with La Bioff, recently held, where he sits on a chair in a delicious house shared with Mia Goth and his child, and he goes back to Slosan REC experiment and admits that he had gone away from deep end. He admits that his behavior was unstable, and he had a “God campus”. He now feels bad about all this. Labeouf distributes this confession with a great belief that is slightly supernatural. But hearing this, you find out that one thing has not changed, and it can be the most unnecessary thing about it: he is still acting.
