Independent films are the life blood of the film industry, they have the wildest ideas and set the trends. The auteurs; independent because they cannot stand to make the films they truly want within a system they despise.
They live by their own vision and are stubborn, driven, talented, crafty, observant and tender all at the same time.
Taking risks and inventing new characters that are from the margins of society has never been Hollywood's main cultural demographic. Budget limitations mean nothing to filmmakers like Fabrizio Federico, hoodwinking is part of the game, and they are driven to tell their negative pick-up fables, ''I was stabbed with a fork while filming but I was so in the zone that I didnt feel a thing''.
Fabrizio has a desirable decadence mixed with an artistic atmosphere. His hippie, freaky teenage upbringing of moving countries, which impacted his gift of the gab and a sense of adventurousness. ''When I was a kid I would get all my village friends to pretend to be the Ex-President bank robbers from the movie Point Break, I was Ronald Reagan. That's when I became a filmmaker''.
Federico appears to have two quite distinct personalities co-existing (the dysfunctional filmmaker and the blissed-out stoner) his bohemian lifestyle puts him at odd's with authority figures ''I watched a lot of surfer movies and street films as a teenager like Midnight Cowboy, Panic In Needle Nose Park, Another Day in Paradise and I always rooted for the bad guys''.
Some big themes come up in Federico's work such as injustice, soul sacrifice, addiction and strangelove. He see's underground and experimental cinema as a force to be appreciated by a bigger international mainstream audience. ''I like the idea of treating the audience to a chaotic, compelling aesthetic, to scramble their brains. I want to show them an uncomfortable time, I feel they can take it. They are not as innocent as they look''.
Loon has a random mix of stoned, catatonic moments, mixed with subliminal Kubrick messages, which then switch to troubled intimate teenage situations in bedrooms, somewhere their parents cant hear them, ''the film is just a glorious unmade bed.''
Most importantly the film is fun and trashy but intriguing in a deeper way, full of nonlinear narlyness. At the centre lies the films Dismaland pop-culture, main character Charlie Sheen is a petty thief, tied in a folie a deux relationship with his sinister older cousin Georgia. Suddenly his chaotic life style reaches a climax.
Authenticity of expression is a non-actors main virtuosity, meaning they are in the NOW, you can call it Zen filmmaking, they dont care about pretending to be someone else, there's no strings attached and they definitely dont give a fuck about the directors vision. But they are self-serving to express themselves, knowing that this is the only movie they will ever be in. Sometimes they use real drugs on camera to get in touch with their anxieties and phobias, and the effect is so voyeuristic it's uncomfortable viewing.
Loon is his 3rd feature film in a body of work that is strangely cohesive and definite for such a new artist. His identity is so embossed boldly onto each film that it feels less like something he created and more like an extension of himself.
In art-house films, ambiguity and uneasiness is much more involved on a personal level,
The big plus from the filmmakers point of view is that he has completed the movie he dreamed of and since it was zero-budget if the film bombs financially it doesn't matter.
It's a long list of filmmakers living the cinema dream this way, film outlaws such as Jim Jarmusch, Larry Clark, John Cassevetes, Todd Haynes, Abel Ferrara, Alex Holdridge and all the way to the present day.
Loon is an irrational movie, and a natural extension to this cannon of filmmaking.
LOON - Released on Halloween 2017