Tangerine L.A. would also be a nice name for a shade that might look as high-fashion cosmetic and as a muscle car Airbrush quite spectacular. One may imagine that color like this: a flaming yellow, which has traces of red in the warmer spectrum, with earthy brown marks in the black areas and an apocalyptic nuclear sunflower yellow in the highlights. Orange Is the New Black . Tangerine L.A. , the fifth film of the US indie director Sean Baker, bathes in a sense in this artificial light that is reminiscent of a radioactive sunset. Baker should be the name patented swiftly. One may argue with some justification, have not seen such an expressive blaze of color since the golden era of Technicolor in the cinema. When was Los Angeles, the City of Angels, last so magnificently lit from the inside out?
The artificial luminance of Tangerine L.A. has a deeper meaning, because Bakers film plays on Christmas Day. The idea of a Christmas Los Angeles strikes us central Europeans indeed still unreal ( O How Joyfully under palms California?), But also the native New Yorker Baker knows this paradox. That is why he has all color channels turned up until the orange tones blowing. The fact that the winter crop mandarin wakes Christmas associations enriches the distinctive coloring to another point. But nostalgic or even contemplative it goes to far in Tangerine L.A. . Baker takes a few minutes to bring his film to operating temperature. With Kitana Kiki Rodriguez and Mya Taylor he has two exceptional actresses who ragged help his film on the jumps.
You are Sin-Dee and Alexandra and work on the line of transsexuals Los Angeles. Your area extends over several blocks along the Santa Monica Boulevards. Just Sin-Dee has served a 28-day prison sentence for her pimp Chester, gratitude can not even look at which their dismissal. The reason it reveals Alexandra at a donut. Chester has a new – a fish this time “with vagina and all.” But Sin-Dee is a proud girl, this shame she can not sit up. Before Alexandra still “no drama, please!” can say, Sin-Dee is in their hot pants and its reasonable top with leopard print on a vendetta which leads the two friends through the greasy Establishment of Santa Monica.
developed where Tangerine LA a similarly furious temper as the horned Sin-Dee. Baker is with his modest resources managed a small marvel of unfettered mobility: scenes are filmed by bike, quick cuts and tilted settings produce a feverish intensity, which is enhanced by the pumping soundtrack of hip hop beats and dubstep basses. The frenetic bustle partly reminds TWERKING videos what extent fits than that actresses and camera act immensely physically. Time to breathe has a second plot line to an Armenian taxi driver with a fetish for the “chicks with dicks “: Fleeing the family Christmas party with mother it verschlägt Razmik back into his cab and on the road, in the company of other social outcast.
An interest in non-normative lifestyles pervades all movies Bakers (his last, Starlet , was a look in the Californian porn industry), it is however inevitably linked to casual stocktaking economic conditions. Tangerine L.A. also is just from people who have to work on the road on Christmas Eve to make ends meet.
In its Sundance premiere last year made Tangerine L.A. in advance a stir because Baker had his film because of insufficient financing rotated on an iPhone. What sounds in theory for a gimmick, proves on the screen on the other hand as a revelation. Tangerine L.A. is more than a mere form of experiment with micro-budget and certainly not a half-baked Dogma infusion. Baker has achieved something by using a few standard apps and an anamorphic lens that emulates a wide screen appearance, which was most recently seen more and more rare in the target group optimized Hollywood cinema: a rapidly told comedy with an accurate view of social milieus, the most mainstream yet represented as a niche phenomenon.
His leading ladies discovered Baker during his research on the road, so he likes to call the film as a “semi-fictional” (not to be confused with semi-documentary). So is Tangerine L.A. not just a movie above , but even more for the transgender scene. Rodriguez and Taylor have worked on the script, most roles were cast with protagonists from the milieu. You hear these subtle but important difference in the dialogues, which were from the slang of the street as well as the shading , the art of elaborate insult to the LGBT community, honed.
Tangerine L.A. is the latest example of an interesting development in the current American independent cinema, to reinforce the involvement of society speaker positions that have remained unheard in the US box long. The iPhone plays a crucial role because it allows filmmakers the necessary economic and artistic independence, to tell stories, which could also have made the dominant monoculture of American narrative cinema again. was produced Tangerine L.A. by Mark and Jay, who have been driving forces in the mumblecore movement.
to Baker lent the nonchalance with which he films his actors in front of the camera when improvising From this influential, albeit short-lived school. He pursues a significantly more ambitious plan than the mumblecore representatives with their confessional Do-it-yourself ethic. That his film using performative gestures, enhance the sociocultural differences simultaneously and ironic comment, formal weighted more heavily towards the genre of screwball comedy as a “realistic” in the social drama, is so far only logical. Together with like-minded filmmakers such as Ramin Bahrani ( 99 Homes ), Benh Zeitlin ( Beasts of the Southern Wild ) or the Safdie brothers ( Heaven Knows What ) Baker gives the American box straight to a greater variety. In Tangerine L.A. not only the sky is burning. But especially the protagonist.
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