It is infrequent — but not totally rare — to come across a film where a singular, simple formal decision fully encapsulates the underlying ethos and intentions. While it would be unwise to pick just one of the panoply of idiosyncratic features that make up Two Plains & a Fancy, the most immediate of these is the choice to film this movie, placed in a setting recognizable as a certain version of the Old West, in handheld, sun-kissed 16mm. Rather than focusing on the grandeur of the desert and capturing the sweeping vistas, directors Lev Kalman & Whitney Horn aim for something decidedly less conventional, which does more to fundamentally alter the viewer’s sense of a particular time and place than a whole host of so-called revisionist Westerns.
For those who have seen Kalman and Horn’s previous feature, L for Leisure, this comes as no surprise. Two Plains & a Fancy carries itself...
For those who have seen Kalman and Horn’s previous feature, L for Leisure, this comes as no surprise. Two Plains & a Fancy carries itself...
- 6/28/2018
- by Ryan Swen
- The Film Stage
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