Andrew Bujalski’s first three features — Funny Ha Ha, Mutual Appreciation and Beeswax — were all more or less of a piece: illusorily casual 16mm portraits of young people in ambiguously comfortable stasis in, respectively, Boston, Brooklyn and Austin. Computer Chess, released in 2013, was a total UFO both in relation to his work and in relation to just about everything else. Film was out, but instead of clean digital, Bujalski shot on three 1969 SONY AVC-3260 cameras, its unfamiliar type of black-and-white grain making even denser a complicated comedy about a computer chess conference happening sometime in the late […]