This grouping from Film Movement has been my favorite to date. The theme that ties these films together is what I would label as “art as process.” Each film revolves around the philosophies of making, practicing, refining, and reflecting upon one’s own art. Featuring one narrative and two documentaries, this grouping really foregrounds the importance of the messiness when it comes to process. In order to be a true artist, a true expert in your craft, you can’t be afraid to get messy: to fail before persevering. My Art, The Paris Opera, and Conduct! Every Move Counts each share an appreciation for failure and the seeds of success it plants within aspiring artists, both young and old.

First in the lineup, My Art, is a love letter to the cinema and the overall process of art. Written, directed, and starring Laurie Simmons, the film feels somewhat autobiographical. Perhaps the character, Ellie (played by Simmons), may not be an exact replica of Simmons, but their likeness in age and the film’s message of struggling to maintain relevance in an art scene offer what I would like to consider a personal touch. The way in which Ellie refines her work is by recreating classic films that star herself and two other actors nearing her age, with an old video camera. While I didn’t really fall in love with the film given its pacing, I couldn’t stop thinking about the implications that Simmons puts forward with this simple narrative: the naïve exploration of “new art” through an unconscious use of aging media. For example, Ellie is an elderly woman recreating films that inspired her to become an artist when she was young, but now she returns to that nostalgic feeling with older “new” technology in order to record it (digital video has largely replaced film in many cases, but the digital video camera she is using is old and struggling to find its place, just like her character). So much of the film plays upon this tension that it propels the audience through the pockets of narrative that seem to lag.

So Negative excellently exemplifies the importance of respecting a person privacy as our main character finds himself inadvertently drawn into a world of spies and drug cartel all thanks to the act of snapping a simple photo. Katia Winter and Simon Quarterman star as this duo thrown together and forced to rely on one another to survive. This thriller takes a minute to build traction, but still manages to entertain. However, winter tends to be very monotone and soft-spoken, so you will need to have to volume up to catch some of her dialogue.

All he did was take her picture. This seemingly innocent act, brings Hollis (Simon Quarterman) more grief then could have ever imagined, as later that night the subject of his intrigue shows up at his apartment. Her name is Natalie (Katia Winter) and she is a former MI-5 operative in the process of going into hiding, and she can’t afford to have photographic evidence of her presence floating around. She merely went to retrieve the proof, she anticipated she would have to be a bit forceful to get it back. However, she did not expect the people hunting her to locate her so quickly.

"A long time ago in a galaxy far far away..."

Yes, those lines open this Star Wars story, because the filmmakers want to be sure you know what you're watching. This is Star Wars. Just in case there was anyone at all in the audience who had no idea they just bought a ticket to Star Wars. If he were dead, George Lucas would be rolling over in his grave. Instead, maybe he's just having some restless nights with little sleep. It is Star Wars. And that means there will be a droid as a main character, space battles, and some good old fashioned one-reel-serial-days adventure. It's a heck of a visual amusement park ride, and the film will certainly entertain. But I have to open by saying it is my least favorite of the Disney Star Wars films to date.