Shot with a Hi-8 camcorder and finished on 16mm for a paltry $20,000, Scott Saunders's affecting THE LOST WORDS stakes out new territory in the growing field of no-budget filmmaking. Although the narrative is slight, Saunders's video diary approach achieves an emotional richness that the
film might have lacked in a costlier format.
Charles (Michael Kaniecki) is a struggling musician and filmmaker who impulsively decides to document his own life on videotape in an effort to salvage his rapidly deteriorating relationship with Marcie (Zelda Gergel). Of course, the very presence of a camcorder--not to mention the unseen friend
who's operating it--incites further bickering. Meanwhile, the romantic relationships of Charles's buddies seem to be floundering as well; the only one who appears to be on an even emotional keel is George (George M), a gay musician. When Marcie flies off to Paris for an impromptu vacation, then
inexplicably postpones her return to the US, Charles accuses her of adultery. Deeply offended by his lack of trust, Marcie breaks off their relationship, sending Charles into an emotional tailspin. Only gradually, with the help of kooky performance artist Bettina (Salley Mae), does Charles recover
his equilibrium.
For the most part, the tremendous creative potential of video remains sadly undeveloped, and it's refreshing to see a low-cost camcorder used in an attempt to extend the boundaries of narrative filmmaking. Like his sweetly neurotic protagonist, Saunders (who is the co-founder of Film Crash) has
worked extensively as an on-line editor, and his expertise shows. In THE LOST WORDS, he turns the technical limitations of low-end video production to his advantage; in particular, the layered "experimental" footage is gorgeous. It's also nice to see a tortured, sensitive, straight boy for a
change: Kaniecki, a musician and playwright, is achingly familiar as Charles and never loses the audience's sympathies.
In one respect, however, the film falls somewhat flat: the rather pedestrian verite interviews interspersed throughout the film upset the rhythm and delicate tone of Saunders's narrative. And, with few exceptions, none of his interviewees manages to say anything about life and love that isn't
better expressed in the story proper. (Adult situations, sexual situations.) leave a comment
