There’s something to be said about not being eager to please. Chris Fuller’s Loren Cass is an aggressively confrontational debut, all the more so because it is so resolutely restrained in its approach. So seemingly oblique is Fuller’s approach that one feasibly could make it through the entire film and not realize that its subject matter is the aftermath of the 1996 St. Petersburg riots; but on the other hand, that subject matter is so deeply ingrained in the film’s form that it doesn’t matter. Loren Cass doesn’t so much deal with its themes as it ingests them, and then […]
by Jason Guerrasio on Jul 29, 2009