film review: upstream colour

words jason ward

30th August 2013

Blue dust clings to leaves. Boys drink an unknown liquid and make synchronised movements that could be a dance or a fight. Grub-like creatures are collected and carefully sorted. Bin liners are dragged out to a dumpster, stuffed with paper chains covered in unintelligible writing.

Like the rest of what follows, Upstream Colour’s opening imagery is both strikingly gorgeous and difficult to understand. Obviously it all means something, but what that something is exactly isn’t made clear. As the film unfurls in its beautiful fug, the common reaction to a first viewing is outright bewilderment, and what’s most surprising is what a refreshing experience that is. 

Confusion has largely been banished from contemporary cinema: even when a film obscures the machinations of its plot or the true motivations of its characters, its structure can usually be easily processed and understood throughout. This insistence on narrative clarity in modern filmmaking is what makes Upstream Colour feel like such an outlier. Rarely letting a scene play out in full, the film flits from moment to moment, making temporal jumps and finding itself caught in loops, or drawing unexplained parallels.

Completed nine years after his similarly uncompromising debut Primer, it’s understandable how director Shane Carruth (also the writer, composer, co-editor and co-star) had such trouble finding funding for the film: from its aggressive sound design to its surreal imagery – which may be metaphorical, hallucinatory, or something else entirely – Carruth disregards prevailing storytelling conventions for an approach that is far more opaque.

Even though it can often feel like watching a foreign language film without the subtitles on, it’s clear at all times that every shot, sound and line of dialogue has a specific meaning. Somehow, this seems more important than whether you understand what that meaning is or not. Carruth places faith not in the audience’s ability to keep up, but in their capacity to be comfortable with not always keeping up. It’s through this – as well as its overwhelming splendour – that the film manages to avoid the frustration that could make such a picture unwatchable.

While the struggle to decipher what exactly is going on is part of Upstream Colour’s many pleasures, its obfuscations also serve an important narrative purpose. It would be unfair – and unproductive – to articulate the plot, but the film for the most part follows Kris (Amy Seimetz) and Jeff (Carruth), who meet after their identities have been violated by the actions of another character. Their combined efforts to rebuild their lives are hindered by the extreme disassociation caused by the procedure they were made to go through, and this disorientation is manifested in the film’s sustained perplexing mood. It’s an elegantly conceived, effective way to reflect the emotional state of the characters, as well as to depict the deep transgression they’ve uncomprehendingly suffered.

A puzzle box of a film, Upstream Colour’s many enigmas are designed to linger far past the point when the credits have started running, but aside from a few key scenes its central narrative is relatively straightforward. Instead, it’s the beguiling manner in which it asks its questions that leaves the deepest impression. To fully enjoy the film, then, one must embrace not just its mysteries, but its obstinate, vibrant confusion.

Upsteam Colour is out in the UK on 30th August. 

issue seventeen is out on sunday

words liz ann bennett

29th August 2013

Issue seventeen flies high, dreams wide and floats upside down. Yes, it's The Space Issue, in which we cooked our own rocket fuel, interviewed NASA's spacesuit designer and doodled many, many aliens.

Tucked inside also: giant jellies, seaside towns, Noah Baumbach (who may or may not serve you tea), meditations on a friendship.

The issue will be out in WHSmith on Sunday, or you can buy it online now.

Our cover this issue is of Armgarð Mortensen, and was shot in the Faroe Islands by Beinta á Torkilsheyggi

photos of hong kong lost in a dream

words liz ann bennett

29th August 2013

One of the opening images in the latest issue comes from the work of Yiu Yu Hoi, a designer and photographer based in Hong Kong. 

Yiu's series of photos provides a peaceful vision of a city usually portrayed with frenetic intensity. He says, "By the use of infrared photography, a real yet unreal dream-like Hong Kong is captured. You will see tranquility, a slow-moving yet dreamy side of Hong Kong."

See more of Yiu's work here.

five questions and a song: the dodos

words linnea enstrom

27th August 2013

Five Questions and a Song is the weekly column where we delve into the minds of musicians and ask them to share one of their newest tracks for your listening pleasure.

San Francisco indie rock duo The Dodos have returned with Carrier, a refreshingly honest record that values authenticity above computerised perfection. After the unexpected passing of their guitarist Chris Reimer, Meric Long and Logan Kroeber felt the need to start over and reassess their musical trajectory, involving the use of analogue equipment and a new and simple approach to songwriting, inspired by the late Reimer. Carrier is out now on Polyvinyl and you can listen to their beautiful single ‘Confidence’ below.

Photo: Chloe Aftel

Tell us about your band.

In 2005 Meric Long threw away a chance for a brilliant solo career and started a band with me instead. We've continued to explore the rhythmic opportunities between guitar and drums ever since.

How did you go about writing the songs on Carrier?

It was a real “from scratch” scenario. Meric might have had some stuff up his sleeve, but I remember the first couple of practices being kind of nerve wracking because we were just improvising on the spot, hoping the other guy would get into it. Miraculously, those jams ended up becoming real songs.

Where will you be in three years?

Good question. The prevailing trend in San Francisco right now is to move to Oakland, which is rad, but I kind of want to stay here and not let the condominiums win. That's the most likely outcome, more of the same, but a move into the countryside would be nice.

What do you eat for breakfast? [asked by previous interviewee Yo’True]

I'm a creature of habit. I drink a green smoothie every day with spinach, celery, banana, apple, orange, ginger, lemon and water. That way I can eat unhealthy food for the rest of the day!

What can you tell us about this song?

The first half used to have a more complex kick drum pattern that was absolute murder for me to play. We simplified it and I think it made the song better, but maybe I'm just not funky enough?

www.dodosmusic.net

 

 

sink art pop-up: beneath the streetlight exhibition

words anna godfrey

27th August 2013

On a sunny Thursday afternoon last week, and after a good half-hour of frustrated wanderings, I found myself having a privately guided tour of Bermondsey’s latest pop-up gallery, Sink Art. My tour guide was the curator, twenty-something Alex Baddeley.

Baddeley comes across as a young and hopeless romantic. Having studied Philosophy and Business Studies at university, he doesn't come from an artistic background, so his post-graduate decision to curate his own gallery was motivated by sheer energy and blind commitment to what he dubs his “act of independence.” He speaks of a period of time during university in which he was unwell, and describes art as acting like a medicine.

The gallery is normally an auction house, but Baddeley has transformed it by looking to Camden’s Cob Gallery for inspiration, mimicking the sharp white walls and minimalist decor of the space. The artwork in Sink Art’s current exhibition falls under the theme of BENEATH THE STREETLIGHT, exploring the effects of contemporary confinement upon the individual.

Many of the artists draw on the somewhat paradoxical effect of isolation and anonymity that comes from living within a bustling city. One video is composed of a series of snippets of Camden life showing not vivid youth and life, but quiet glimpses of telescopic intimacy. Whereas Lily Thomas’s murky photographs expose the accidental harm that can come to a girl on a night out in the city - bruised legs, cut hands - all set on the unnerving background of a white bed

The exhibition is played out with a number of mediums: film, paint, print, sculpture, collage.  Budding with fresh talent and young energy, the exhibition closes on August 26th, but even if you missed this one, it is worth keeping an eye out for Alex and any of his future endeavours.

Above: In A Row, by Lily Thomas.

II, by Mowgli Omari.

playlist of the week: alice in wonderland

words linnea enstrom

21st August 2013

To get you through that mid-week blues, Oh Comely now brings you a Wednesday playlist, uniting old and new sounds under the banner of a theme.

Today we invite you to a psychedelic trip down the rabbit hole. This is the music Alice would have listened to during her subterranean adventures if she had been a 21st century cool person with an mp3.

eight questions and a song: someone still loves you boris yeltsin

words linnea enstrom

20th August 2013

Today we bring you an extended version of Five Questions and a Song, the weekly column where we delve into the minds of musicians and ask them to share one of their newest tracks with you.

While most bands release an album or two and go on tours around Scotland, indie pop trio Someone Still Loves You Boris Yeltsin recently became US cultural ambassadors for Russia. Following a call from the Boris Yeltsin Foundation in Yekaterinburg, the band flew over to perform at an elementary school and was greeted by Boris Yeltsin’s personal translator with seven bottles of vodka. The unlikely events were captured in the soon-to-be released documentary Discussions With RussiansUpon return to Missouri, SSLBY felt revived and began working on the pop album Fly By Wire, which signifies an "honest rebirth" according to the band. We talked to lyricist and lead guitar player Will Knauer about the most memorable moments of their trip, the Russian anti-gay law and the power of music (and Star Trek). Fly By Wire will be out September 17th on Polyvinyl Records, but until then you can check out their new single 'Nightwater Girlfriend' below.

Photo: Someone Still Loves You Boris Yeltsin

Tell us about your band.

We're a rock and roll band that has crafted welcoming songs to all audiences since 1999. We love it when entire families enjoy our music. We've been lucky to fly the perfect distance under the radar while remaining above the water.

What was the most memorable experience as US cultural ambassadors for Russia?

Technically we were only ambassadors for one day and everything that happened that day was incredibly memorable. I have no idea what I did a few days ago - I hope it was something fun - but I'll always remember performing at a high school, not only for the students of Yekaterinburg, but for Boris Yeltsin's close friends and previous co-workers who were sitting in the front row. It was a truly dynamic situation in which we established a connection by "helping to keep the name of Boris Yeltsin alive through our music and band name".

What is your reaction to the Russian anti-gay law?

We named our band after Boris Yeltsin, not after his politics or the current politics.

How can a discriminating legislation such as the anti-gay law be challenged on a cultural or musical level?

Pussy Riot showed us that music can draw the attention of a mass amount of people. Where there is attention is there is often determination.

What inspires you to write songs?

Watching live videos of Nirvana on YouTube.

What other politician would you name your band after?

Anthony Weiner or Dick Cheney.

When was the last time you cried? [asked by previous interviewees Deap Vally]

A few days ago. I may have shed a wee tear while watching the series finale of Star Trek: The Next Generation.

What can you tell us about this song?

Rocks. Don't over think it.

www.sslyby.com

just so festival for families

words liz ann bennett

16th August 2013

We're off to the Just So Festival for families this weekend, and by 'we' I mean Lisa Jarmin, Oh Comely's Writer with Child, whose frank and funny blog you can find here.

Still, even without a four-year-old, I'm a little jealous not to be going because Just So looks excellent. They're not a festival 'for children' for a start, but to engage the whole family in creative activities: clay pottery, interactive theatre, knitting drop-in, and many more. Most adorably, they have a daily 'baby bath time' with baby baths and bubbles. Awww.

Lisa's promised to report on the most hilariously-named child she spots, so watch this space.