28 days was Sin-Dee in jail because she had hidden the drugs her friend and pimp Chester. Now, in the early afternoon of Christmas Eve, she’s back there, back in L.A., back on the street.
Glistening orange is the winter sun in the sky and flooded the inconspicuous intersection Santa Monica Boulevard and Highland Avenue, where she and the other trans women sex workers to pursue. Chester she fails to collect from jail. Your last two US dollars went for the bus it into town and a Christmas donut, which she shares with her best friend Alexandra. From her she learns now that Chester had what with another. Much worse: with a white cis-woman “with pussy and everything.”
The Donut with its colorful sprinkles lies on a bright orange tabletop, Sin-Dee looks at the orange sky, her body shaking beneath the leopard print blouse, an unstoppable excitement she recognized, and she storms out of the donut Time Café. It is this “real bitch” find, from which it only knows that her first name with “D” starts, it will drag her by the hair to Chester and take him to task.
So much drama. Sean Baker’s Sundance hit “Tangerine L.A.” prescribes with bits and bytes of the excitement of his protagonists. With screwed up to the pain threshold chroma he rushes with sin-Dee by the afternoon, but attaches itself also Alexandra on the heels, the beats with cash unwilling customer, has trouble with the police and distributed flyers for her appearance in the evening, where they in will sing a bar carols.
Finally he accompanied Armenian taxi driver Razmik, a regular customer of Sin-Dee and Alexandra,. Through the streets West Hollywood, and its customers are excited because they still need to go on Christmas Eve somewhere The soundtrack is fast dialogues with rowdy electro songs overlap, at times also with bombastic Beethoven. The film absorbs the energy of the street, quickly cuts between the three figures back and forth, it leads at the end again to Donut Time together with Chester, his new girlfriend, Razmiks wife and his mother, since it is already dark outside, all sung Christmas carols, but the right drama begins.
the incredibly vibrant “tangerine LA” is shot entirely on an iPhone. 5 Director Sean Baker had hidden this information in the film’s closing credits, 85 minutes flurry Cinemascope images in bright colors. Since its Sundance premiere in 2015 we now speak of nothing else, if you mentioned his film, it stands tall on the posters, and film schools around the world have sent their invitations.
A very old-fashioned film
The rhetoric of technologically innovative cinema which, with smartphones, an anamorphic adapter in the experimental stage, a Postproduktionsapp and simple Steadycam devices the old Hollywood system with its grotesque budgeted superhero sequel boredom again makes legs before losing his thrill-seeking audience completely on Netflix and HBO, conceals that “Tangerine LA” a very old-fashioned film.
Of course, the stories of Sin-Dee, Alexandra and Razmik lying on the road, one needs only abzufilmen. Baker has it distilled in a long search and many interviews with sex workers in the area around the Donut Time around the smartphone has used, quite close zurücken them to move in their world without being noticed or prosecuted – with professional cameras he sets Shut off or need to check personal rights.
But to make a social-realist film in documentary style, observes the reality of life of marginalized people was neither in Bakers interest nor in that of his protagonists: “movie the way that everything is right, but sorg also for that we have something to laugh about, otherwise we do not view this to us “, have Mya Taylor (Alexandra) and Kitana Kiki Rodriguez (Sin-Dee) allegedly said to Baker, and he has kept it. Finally they work while on the road, but it is precisely the streets of Hollywood.
The reference of “Tangerine L.A.” in Hollywood, the district and the state of mind is extremely complex. During the initial title run in squiggly writing on the orange table of Donut Time, you can hear an old recording of “Toyland”, a schmaltzy operetta Christmas song about children who are lost in a dream world. Later, in one of the most beautiful scenes of the movie, Alexandra will sing this song in an empty bar, painted by Sin-Dee a star, set by the camera in bright close-ups in scene, as unmistakable homage to the self-representation talent of those for whom everyday no stage is ready. In another scene we see Sin-Dee on her big vendetta against the men who prefer a “real bitch” her beauty and her wit, on the Walk of Fame running, about the star of a forgotten silent movie stars.
Sean Baker wants to make great cinema, without betraying his heroines. Already in his previous films, he has dealt with figures on the brink of civil FOV as stars and Hollywood stories told to them: an illegally staying in the US Chinese fast food courier who has a day time to settle his debts with the Mafia ( “Take Out”, 2004). An African-American small-time dealer who has to suddenly take care of a small child ( “Prince of Broadway”, 2008). A porn actress who befriends an old woman ( “Starlet”, 2012). They all are expressions of Bakers longings to connect worlds that otherwise never touch, to draw people in their complexity that would otherwise appear at best as decals in the media.
The street prostitution as a stage and tough place
So now Sin-Dee and Alexandra, in a flash screwball comedy that still to play on Christmas Eve. The streetwalkers as a stage and tough place. The film pretends not a bit over the fact that alone in 2015 in the United States 21 transgender women were murdered, most of them as Sin-Dee and Alexandra or their actresses Taylor and Rodriguez people of color .
but he would also like her dreams, her beauty and her wit justice – her great drama in big pictures, so leopard print in Cinemascope, glittering streets with the wrong film grain and walls of houses in Orange. “Flaming images” has the hollywood affine Avantgardist Jack Smith called the times, pictures, believe in only those who can still believe.
The Dream System Hollywood is awakened by a filmmaker back to life, the not to can afford expensive cameras, and actresses who are never invited to film parties, even not when the films that are celebrated there act of transgender people.
And so finds an independently produced film, which has been produced with the pocket money a studio film, the substance and the most fervent expression of what makes Hollywood. One does not have to wait until the touching final scene, in which the film comes to its own and is very quiet, to see how much life previously in “Tangerine L.A.” stuck. To quote Jack Smith again: “A bad film is one that does not flicker.”
In Video: The trailer of “Tangerine LA”
“Tangerine LA”
original Title: Tangerine
USA 2015
director: Sean Baker
script: Sean Baker, Chris Bergoch
Cast: Kitana Kiki Rodriguez, Mya Taylor, Mickey O’Hagan, James Ransone, carts Karagulian, Clu Gulager
production: Duplass Brothers Productions
rental: Kool
length: 88 minutes
Rated: 16 years
Start: July 7, 2016
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