BroSide is a new experimental documentary about the people of Venice, California. It probes the question that Orson Welles explores in The Other Side of the Wind: "Is the journey more important than the destination?"
By evoking the comedies of The Little Rascals, BroSide conjures the playful and psychic effects of direct cinema, abstract animation, and films within films. As directed by Gerry Fialka,BroSide is a "living organism" that involves audiences in the call-and-response ritual, much like a communal, out-loud reading of James Joyce's Finnegans Wake. BroSide empowers the audience to have fun, and inspires new questions.
BroSide was made in various formats including 16mm, Super 8mm, Pixelvision, digital video, cell phones and hand-painted celluloid. The imaginative soundtrack merges binaural beats, and Vaporwave into jazz-funk-blues-classical music-scapes. Bruno Kohfield-Galeano's stroboscopic cinematography and hypnotic editing propels the viewer onto an immersive magic carpet ride. You will see what you are looking for. Featuring the people of the Venice Boardwalk, Treeman, Jen the Hooper, DeDe Audet, Solomon Snakeman, Joe the Limo Driver, Suzy Williams, Brad Kay, Alita Arose, Dave Healey and Jeff Michalski.
Richard Modiano, poet and Executive Director of Beyond Baroque Foundation, declared: "Terrific BroSide trailer. Chris Burden redux, by which I mean that while watching a late night movie on TV in the 1970s one of the commercials was by Chris Burden, not publicizing any product, but making a statement about art that was totally avant garde. I thought I was dreaming, but sure enough it was real, and BroSide brings it up to date."
In presenting Venetians, BroSide adapts and modernizes techniques of "Live Cinema": When the image of the protagonist is talking on screen, the audience also notices that a live human being approaches the screen and turns to face the film-goers. When the onscreen character speaks, their live “double” turns and reacts, speaking a line. This dialogue occurs between two versions of the same person. Inner dialogue is outed, in a stimulating multi-media mash-up, merging reel time and real time. With this approach, Broside creatively adapts the vaudevillian and subversive art traditions of Winsor McCay, Buster Keaton, Luis Bunuel, Pat Oleszko, and Pixelator Denny Monayhan (aka King Kukulele).
As well, this anxiety of influence resonants with Orson Welles, who punctuated performances with cinematic vignettes one year before Finnegans Wake was published. Welles attempted to combine drama and film sequentially in his 1938 movie Too Much Johnson, the stage production of William Gillette's 1894 comedy.
The inspiration of Broside remains people's irreducible "all-aroundness" and "insideness." As D.H. Lawrence wrote in admiration of Cezanne's paintings, "It's the appleyness, which carries with it the feeling of knowing the other side as well, the side you don't see. . . The eye sees only fronts, and the mind, on the whole is satisfied with fronts. But intuition needs all-aroundness, and instincts needs insideness. The true imagination is forever curving round to the other side, the back of presented appearances."