As the first decade of the 21st century dissolves into history, cinéastes and cinephiles find themselves in a time of uncommon ambivalence. Hollywood’s insatiable appetite for banality and bromidic fare has not only largely alienated cinema scholars and enthusiasts, but nearly eliminated the opportunities available to progressive-minded and experimental filmmakers. But as the classic studio system regains an artistically unhealthy level of power, independent filmmakers are enjoying the benefits of the many recent advancements in digital photography and media sharing technology.
Director Jason Shahinfar’s debut feature, “Cut From Home,” is a unique, experimental work of cinema that wouldn’t have been possible only a few years ago. Shot entirely on location in Savannah, Ga. with a pocket-sized crew and predominantly non-actors, “Cut From Home” is an exemplar of thrift, resourcefulness, and substance that helps to further expose the bloated and abject nature of commercial filmmaking.
Sam Mallo and Dani Niedzielski star as transient lovers struggling to make their way in the world while dealing with past demons and juggling the fragments of a fractured relationship. Their meandering journey takes us from the poverty and desperation of the inner city to the tortoiselike-pace and lassitudes of the rural south, and everywhere in between. An unshakable feeling of authenticity emanates from these young, nonprofessional actors, and permeates the entire production. Entirely improvised dialogue, the absence of any production design, and a complete lack of staged lighting add to the refreshing feeling of tangibility and realness. Though, such a bare-bones production doesn’t come free of obstacles. As believable and authentic as our stars are, their inexperience occasionally betrays itself and eclipses the focus of a few minor scenes. But, like Gus Van Sant’s haunting and methodical “Paranoid Park” (2007), Shahinfar’s organic approach to the material works far more often than not.
The most brilliant instance of unhurried genuineness I’ve seen in years comes in a beautiful sequence where we encounter an elderly couple at their modest, backwoods home. It is readily apparent that these people aren’t actors and were likely discovered during the course of filming. Their veritable kind-heartedness, and the broken-down, rusted machinery, and dilapidated landscape that surround them would have been purely unachievable by a big-budget production. It is a thing of beauty.
Cinematographer, Brian Udoff, manages to capture shining slivers of the ubiquitous winsomeness of humanity with his deliberate and thoughtful camera work. His shot composition, particularly the framing, is handled with great care and serves the story with its subtle artistry.
“Cut From Home” is a paradigm of independent filmmaking that embraces technology, typifies ingenuity, and inspires creativity. Look for this special little film to thrive on the festival circuit.
