The Fourth Dimension
Official Selection, Tribeca Film Festival 2012
“The right mixture of goofy and profound” — Jason Bailey, FOURTH ROW CENTER
“All three directors transcend convention by challenging themselves and audiences to find something new in cinema” — Ashley Havey, TRIBECA FILM FESTIVAL
Okay, so here’s what happened: Vice Magazine’s Eddy Moretti, co-writer of the extraordinary WHITE LIGHTNIN’ and co-director of the equally terrific HEAVY METAL IN BAGHDAD, not to mention The Vice Guide to Travel, had a notion. He would write his own filmmaking manifesto, one so bizarre and liquefied that it could only result in genius. This manifesto would include such rules as “a stuffed animal needs to make an appearance”. Which, again, could only result in genius. With said manifesto, he would bring on board of trio of wildly iconoclastic filmmakers to shoot 30-minute shorts, each from a different country — with the instructions to shoot in their locales — that would in some way or another, explore the possibilities of a fourth dimension. The results are glorious indeed…
Poland: Jan Kwiecinski’s “Fawns” atmospherically depicts a pack of hipsters wandering through a deserted town that’s almost ghostly in its stillness, exploring homes, shops and alleyways, disregarding the fact that the area has been evacuated due to an apocalyptic flood warning.
Russia: Alexsey Fedorchenko’s “Chrono Eye”, a marvel of understated satire and unconventional poetry, tells the tale of a brilliant scientist hold-up in an apartment, frustration mounting as his experiments in time travel are frequently interrupted by occurrences both mundane and exceptional, his disappointments in the past rivaling those in the present. Until…
USA: Harmony Korine’s “The Lotus Community Workship” unleashes non-stop hilarity (and considerable aesthetic alchemy) with none other than Val Kilmer taking center-stage as “Val Kilmer”, a famous motivational speaker who delivers utterly insane sermons to packed rooms in bowling alleys and skating rinks across the USA.
As you can imagine, no segment is remotely alike, each being an individualistic gem of a genre all its own, compiled into an intoxicating bong blast to make for a super-entertaining, semi-experimental UFO of cinema, sometimes laugh-out-loud funny, sometimes transfixing and breathtaking, always surprising. On a side note, its especially fun to see Korine involved, as he was the only U.S. filmmaker to have signed onto Lars Von Trier’s notorious Dogme ’95 manifesto back in the day. THE FOURTH DIMENSION stands as further proof that Vice is a trailblazing force of nature on the international independent film landscape. Miss it at your peril.
— Mitch Davis