There’s a make-it-or-break-it moment in writer-director Jack Begert’s boldly unconventional, existential drama/Hollywood satire, Little Death, that will leave audiences cringing in shock, wonder, and maybe awe. Some might even head for the exits. Coming as it does at roughly the halfway mark, the moment in question upends everything the audience knows — or thinks they know — about Little Death and the nominal central character, Martin Solomon (David Schwimmer), a financially comfortable, angst-ridden, middle-aged TV writer obsessed with art, sex, and mortality. And that’s just the half of it. Literally, as it turns out. When we first meet the dour-faced, downbeat Solomon, he’s self-consciously musing via voiceover about his life with a capital L. Despite all...
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- 2/7/2024
- Screen Anarchy
There’s an admirable ambition to Jack Begert’s directorial debut, Little Death. The film, which premiered at Sundance, announces its intentions with an early scene of communal complaint. At dinner, Martin Solomon (David Schwimmer), a TV writer with directorial aspirations, laments the state of his industry. In addition to their disdain for lazy and too-sensitive audiences, he and his friend, Augustus (Fred Melamed), discuss the limitations of narrative filmmaking. Augustus argues that television allows writers to explore the interiority of multiple characters, whereas films can only really sustain one point of view.
With Little Death, Begert tries to prove Augustus wrong. The director, who co-wrote the film’s screenplay with Dani Goffstein, constructs a story plunging viewers into the ravaged emotional lives of different characters. It tries to stretch the bounds of the narrative form, to upend convention and encourage us to rethink our relationship to storytelling. It aims...
With Little Death, Begert tries to prove Augustus wrong. The director, who co-wrote the film’s screenplay with Dani Goffstein, constructs a story plunging viewers into the ravaged emotional lives of different characters. It tries to stretch the bounds of the narrative form, to upend convention and encourage us to rethink our relationship to storytelling. It aims...
- 1/25/2024
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
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