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There are movers, there are shakers, and there are shirkers.
In 1992, teenager Sandi Tan shot Singapore's first indie road movie with her enigmatic American mentor Georges – who then vanished with all the footage. Twenty years later, the 16mm film is recovered, sending Tan, now a novelist in Los Angeles, on a personal odyssey in search of Georges' vanishing footprints.
incredibly alarming how all it takes is one person to change history and erase what could have been such a meaningful and monumental piece of art. in the universe parallel to ours, shirkers rocked the world
A young woman makes a movie in 1992. The man she entrusts with the job of directing it disappears with the footage. Years later, she goes in search of him, and it. The result is one of the great acts of turning lemons into cinematic lemonade I can recall.
the scariest movie i've watched all halloween season........turns out that the idea of putting that much time and effort and money into something only for it to be taken away is more terrifying to me than just straight-up being murdered
I feel so raw after watching this film. My heart is so heavy, and I'm mourning for Sandi, Jasmine, and Sophie's loss. For the loss of every woman who's art was stolen from them by men with fragile egos.
But my god. What a cathartic experience this was. Grief in it's most potent form, and one of the best examples of reclaiming what was taken from you.
a strange story, but hardly unique - we all know one of these guys, their crimes can range from literal theft (and worse) to talking over women at parties, but they're all on that same threatened/entitled spectrum. it's easy to lose sight of that, because this particular incident is pretty bizarre (and such a twisted joke of "luck"!), but it's fitting that the antagonist is this mysterious shadow, easily a vague stand-in for every other man of his type (and they are all more or less the same). falters here and there like most documentaries do, there are so many facets to explore and not enough time to dig into them all, but i'm perfectly ok with the fact that…
The doc is just as lovely as it was when I first saw it last month, but seeing the sequences with the original footage in a theater felt extra profound — you could feel the loss as you watched it. The brief silent sequence, in particular, was painful, little sighs peppered throughout the audience as people really understood what it is to have a project taken away from you. Human relationships are more important than the art they produce, but when those relationships fade, the art can still carry those memories. It’s a shame for that to be lost.
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USA Sundance Film Festival 
Italy 
