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החיים היקום וכל השאר |
| 4/2009
 קיץ מהפכני
הסיפור הוא כזה :
Filmmaker
Miles Matthew Montalbano’s feature debut is the most open-hearted and
open-minded political portrait to come down the pike in ages. Written
under the influence of Vietnam War–era landmarks Medium Cool and Zabriskie Point,
and directed with a nod to the French New Wave, this Bay Area DIY
production imagines a trio of responses to the current repressive
climate. Mackenzie Firgens gives a screen-melting, star-making
performance as the aptly named Hope, a young woman with an undercurrent
of vague idealism, an abundance of common sense and no real direction.
Her best friend, Francine (a bold, brave turn by Lauren Fox), dismisses
any discussion of philosophy and meaning in favor of a live-for-today
frenzy of drugs, sex and more drugs. When Hope hooks up with Frankie
(Samuel Child), an earnest, likable fellow who’s signed on to a
subversive plot to attack an unknown target, the stakes are kicked up a
few notches. Brimming with restless energy and a palpable intelligence,
and driven by Christian Bruno and K.C. Smith’s probing camerawork, Revolution Summer
is an up-close and deeply personal meditation on individual
responsibility in the modern age. A provocation spawned by an
extraordinarily deep conviction, the film is nonetheless the antithesis
of a self-indulgent screed. It abounds with countless small pleasures,
from the tasty, spare soundtrack by Jonathan Richman, to gritty
glimpses of San Francisco and Oakland, to a tongue-in-cheek cameo by
rocker Chuck Prophet. With this sexy, dangerous drama that dances on
the razor’s edge between anomie and violence, Montalbano announces
himself as a filmmaker to watch.
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