SF Indiefest Capsules: Proxy, A Field in England, More

A Field in England

Ben Wheatley’s fever dream of a film, A Field in England, will have you scraping your brain off of the floor by the time the end credits save you from the madness. Set during the English civil war, we follow four blokes as they flee the field of war and turn from soldiers to wanderers, trekking through the titular field in search of an alehouse. They inexplicably unearth an Irish alchemist (or something like that), and the dark man proceeds to abuse the sorry souls (and us) into a state of helpless insanity. Wheatley utilizes a barrage of strobing diabolical imagery, grimy black and white photography, and disorienting narrative leaps to jostle loose your grip on reality, and the effect is astonishing. As an experience, it’s truly something else. Something that must be seen to be believed. [Bernard]

Proxy

Proxy opens with a scene so disturbing it’ll be too repulsive and morally disagreeable for most (walk-outs are almost guaranteed). In the scene, our main character, Esther, walking home from a prenatal doctor’s appointment, goes from pregnant to not pregnant in the worst way possible. Let’s leave it at that. It’s an upfront declaration of the film’s wickedness, and should vex the weak of stomach and delight those with a taste for the twisted, gruesome, and psychotic. The vile tone never lets up, as the film explores the darkest corners of mental illness in graphic, sadistic fashion. Director Zack Parker’s images, despite their repulsiveness, look slick and often poetic, and his cast (including indie favorite Joe Swanberg) is solid. [Bernard]

Teenage

Teenage is an earnest examination of the teenager’s role in culture. It may not provide many new insights, but it does use an impressive array of archival footage to convey the shifting ideals and subcultures of the early 20th century. Though the film’s attempts at character-driven diversions feel a bit muddled, director Matt Wolf overall does an effective job of showing the similarities of teens through the years. Featuring narration by actors including Jena Malone and Ben Whishaw and a vibrant score by Bradford Cox (Deerhunter), Teenage feels like an elegant though somewhat on-the-nose love letter to rebellion and identity. [Colleen]

How to Be a Man

Mark (Gavin McInness) is a retired comedian faced with terminal breast cancer (hmm…) who wants to make a series of man-advice videos for his unborn son. He finds a young man (Liam Aiken) to film it for him and, predictably, they form a quick father-son bond. How to Be a Man is an Apatow-ish,  toilet-humor fueled, raunch-comedy that manages to be pretty funny despite its derivative makeup. McInness is a gifted funny man, and director Chad Harbold gives him space to strut his stuff. (A public sexual instruction scene is given ample screen time, and McInness shines.) Aiken almost gets lost completely in McInness’ shadow, however. The film isn’t as edgy as it thinks it is, but neither are most films of its ilk. A solid effort. [Bernard]