M O B I U S 
| Directed by: | JOAQUIN MONTALVAN |
|---|---|
| Written by: | JOAQUIN MONTALVAN, EUNICE FONT |
| Starring: | Paul E. Respass |
| Country: | U S A |
| Created: | 2006 |
| Runtime: | 77 min. |
| Member: | jam64 |
|
Average rating: 5 by 1 users
Film Description:
Synopsis
A visual doorway into the lives of two brothers struggling to survive psychologically while dealing with spiritual forces manifesting from a past trauma.
Forms: Narrative Fiction, Feature
Genres: Drama, Western, Horror, Thriller, Avant-garde, Cult, Film Noir, Independent, Rejected, Surreal, Reality, Supernatural, Art, Spiritual
Niches: Christian, Native American, Youth/Teen, Mature/Adult
Cast & Crew
Production
JOAQUIN MONTALVAN (Director, Producer), Jim Barile (Location Manager)
WritingEUNICE FONT (Writer), JOAQUIN MONTALVAN (Writer)
PerformanceAlex Pantozopoulos (Supporting Actor), Andrew Ford (Supporting Actor), Dennis Haggard (Supporting Actor), EUNICE FONT (Supporting Actor), Eric Montrose (Supporting Actor), Eric Lorack (Supporting Actor), Fred Lucas (Supporting Actor), Gretchen Miller (Supporting Actor), Ivan Naranjo (Supporting Actor), Jim Barile (Supporting Actor), Joaquin Montalvan (Supporting Actor), Katherine Norland (Supporting Actor), Keith Johnson (Supporting Actor), Maxwell James (Supporting Actor), Melina Montrose (Supporting Actor), Monica Montalvan (Supporting Actor), Paul E. Respass (Lead Actor), Pax Prouty (Supporting Actor), Rhonda David (Supporting Actor), Teem Lucas (Supporting Actor)
CameraJOAQUIN MONTALVAN (Cinematographer/DP)
Post ProductionJOAQUIN MONTALVAN (Picture Editor)
MusicEnnio Di Berardo (Original Music/Composer), Richard Souther (Original Music/Composer)
"M O B I U S" Trailer Airing on IFC!
Jun 29, 2007 11:20AM
The trailer for the NEW Psycho-Spiritual Thriller from Director
Joaquin Montalvan, "M O B I U S", will be airing on the
Independent Film Channel on Monday, July 2nd, at 8:30 p.m. (EST),
thats 5:30 p.m. for us West Coast folks.
It will continue to AIR on IFC throughout the Month of JULY as follows:
Media Lab Shorts Uploaded Monday, July 02 8:30 PM
Media Lab Shorts Uploaded Saturday, July 07 5:55 AM
Media Lab Shorts Uploaded Friday, July 13 6:00 AM
Media Lab Shorts Uploaded Sunday, July 22 6:00 AM
Media Lab Shorts Uploaded Tuesday, July 24 8:30 AM
Media Lab Shorts Uploaded Wednesday, July 25 1:30 PM
ENJOY!
It will continue to AIR on IFC throughout the Month of JULY as follows:
Media Lab Shorts Uploaded Monday, July 02 8:30 PM
Media Lab Shorts Uploaded Saturday, July 07 5:55 AM
Media Lab Shorts Uploaded Friday, July 13 6:00 AM
Media Lab Shorts Uploaded Sunday, July 22 6:00 AM
Media Lab Shorts Uploaded Tuesday, July 24 8:30 AM
Media Lab Shorts Uploaded Wednesday, July 25 1:30 PM
ENJOY!
Fatally Yours reviews "M O B I U S"!
Jun 01, 2007 11:49PM
Mobius, a film by Joaquin Montalvan, is a journey into the fractured psyche of man named Caleb…and all I can say is, “Hmmm.” Actually, “Mobius” is the perfect title for this film, due to the way it loops around in time and repeatedly circles back upon itself. Be warned, it’s an interesting flick to watch, but it takes a while to get where it’s going.
The film is about Caleb and his splintered personality, which manifests itself as Caleb’s twin brother, Mark. The storytelling is very much in the style of David Lynch, full of non sequiturs and images that seem to go nowhere but add up in the end. I don’t know Montalvan’s background, but Mobius plays as if it’s a grad student film or first feature. At times, I was reminded of films such as Lost Highway, Rosemary’s Baby, Dead Man, and The Matrix, among others.
The film making is more than competent. The videography is fairly straightforward and, admittedly, quite lovely at times. Montalvan gets all types of looks from his video camera – flat, vibrant, oversaturated – it’s all here.
I’ll try to give a concise (and accurate as possible) description of the plot. When Caleb was but a boy, he saw his mom murdered (or murdered her – I’m not quite clear on that point). At the crime scene, a child psychiatrist was summoned to talk with the child. At this point, Caleb’s personality splintered and Mark was born. Mark, who’s well groomed, gets Caleb through his daily life. Caleb, who looks like a homeless person, mostly just hangs out in the park all day. It’s not clear how either earns a living, but they do manage to keep a house, a car, and a therapist, so somebody’s bringing in some cash somewhere. It’s gets a bit fuzzy here, but it seems that, while both were children, Mark made a pact with Satan for Caleb’s soul. Now, thirty years later, Satan wants to collect his due. But there’s a technicality in play. Can Satan make a deal with the split personality of the actual person whose soul he desires? Of course, this is all happening in Caleb’s disturbed mind, so this whole scenario might be his way of dealing with the situation. This I’ll leave for you to decide.
Given the film’s subject matter, it’s appropriate that it is so splintered. As I mentioned, there are several scenes that initially don’t seem to go anywhere, but there are a few scenes in a psychiatrist’s office that work especially well. They’re played in such a way that it’s not clear who’s the doctor and who’s the patient and are quite effective.
Mobius also mixes in some Native American mysticism and a touch of Alejandro Jodorowsky. Yes, even El Topo works its way into the proceedings. Really, I hate to keep comparing Mobius to other films. It’s very much its own film…but then again, it’s not. Where Lynch will throw out images/scenes seemingly without reason and not care whether we follow the plot, Montalvan seems concerned that we are ensured a payoff.
The first hour of Mobius is the Lynchian portion, but Montalvan wants to make sure we follow what it’s all leading up to, so the last twenty minutes or so become somewhat coherent. This allows us to figure out (?) what’s happened, but it somewhat artistically invalidates the earlier part of the film.
There are a couple of standout performances in Mobius. I enjoyed Teem Lucas and Rhonda David in particular. Ms. David gets a special mention for her role as the psychiatrist. While not having much screen time, she makes certain scenes work better than they might have otherwise.
It’s clear Joaquin Montalvan knows how to make a film, but I’d like to see if he can make a movie, if you know what I mean, and I think you do. I am interested to see what he does next. He has his own company, Sledgehammer Films, so hopefully we’ll being something more from him soon.
NOW that you've READ the review, you can VIEW the trailer...
Mobius, a film by Joaquin Montalvan, is a journey into the fractured psyche of man named Caleb…and all I can say is, “Hmmm.” Actually, “Mobius” is the perfect title for this film, due to the way it loops around in time and repeatedly circles back upon itself. Be warned, it’s an interesting flick to watch, but it takes a while to get where it’s going.
The film is about Caleb and his splintered personality, which manifests itself as Caleb’s twin brother, Mark. The storytelling is very much in the style of David Lynch, full of non sequiturs and images that seem to go nowhere but add up in the end. I don’t know Montalvan’s background, but Mobius plays as if it’s a grad student film or first feature. At times, I was reminded of films such as Lost Highway, Rosemary’s Baby, Dead Man, and The Matrix, among others.
The film making is more than competent. The videography is fairly straightforward and, admittedly, quite lovely at times. Montalvan gets all types of looks from his video camera – flat, vibrant, oversaturated – it’s all here.
I’ll try to give a concise (and accurate as possible) description of the plot. When Caleb was but a boy, he saw his mom murdered (or murdered her – I’m not quite clear on that point). At the crime scene, a child psychiatrist was summoned to talk with the child. At this point, Caleb’s personality splintered and Mark was born. Mark, who’s well groomed, gets Caleb through his daily life. Caleb, who looks like a homeless person, mostly just hangs out in the park all day. It’s not clear how either earns a living, but they do manage to keep a house, a car, and a therapist, so somebody’s bringing in some cash somewhere. It’s gets a bit fuzzy here, but it seems that, while both were children, Mark made a pact with Satan for Caleb’s soul. Now, thirty years later, Satan wants to collect his due. But there’s a technicality in play. Can Satan make a deal with the split personality of the actual person whose soul he desires? Of course, this is all happening in Caleb’s disturbed mind, so this whole scenario might be his way of dealing with the situation. This I’ll leave for you to decide.
Given the film’s subject matter, it’s appropriate that it is so splintered. As I mentioned, there are several scenes that initially don’t seem to go anywhere, but there are a few scenes in a psychiatrist’s office that work especially well. They’re played in such a way that it’s not clear who’s the doctor and who’s the patient and are quite effective.
Mobius also mixes in some Native American mysticism and a touch of Alejandro Jodorowsky. Yes, even El Topo works its way into the proceedings. Really, I hate to keep comparing Mobius to other films. It’s very much its own film…but then again, it’s not. Where Lynch will throw out images/scenes seemingly without reason and not care whether we follow the plot, Montalvan seems concerned that we are ensured a payoff.
The first hour of Mobius is the Lynchian portion, but Montalvan wants to make sure we follow what it’s all leading up to, so the last twenty minutes or so become somewhat coherent. This allows us to figure out (?) what’s happened, but it somewhat artistically invalidates the earlier part of the film.
There are a couple of standout performances in Mobius. I enjoyed Teem Lucas and Rhonda David in particular. Ms. David gets a special mention for her role as the psychiatrist. While not having much screen time, she makes certain scenes work better than they might have otherwise.
It’s clear Joaquin Montalvan knows how to make a film, but I’d like to see if he can make a movie, if you know what I mean, and I think you do. I am interested to see what he does next. He has his own company, Sledgehammer Films, so hopefully we’ll being something more from him soon.
NOW that you've READ the review, you can VIEW the trailer...
"Horror Talk" reviews M O B I U S!
May 18, 2007 09:35PM
Slash, hack, blood, gore, breasts...and again. Most of the time, those five words will faithfully describe majority of indie horror films one seems to find nowadays, as it seems that extremity is the nearest pathway towards success (or notoriety, as you might imagine). Even if the films are not loaded with gore, they will feature one traditional monster or another, and zombies seem to be particularly popular. As it turns out, the advent of digital camera has created many backyard Romeros and Fulcis, and not yet a single Lynch or Jodorowsky. Until a copy of Joaquin Montalvan's Mobius landed in my mailbox, and I was shown that this kind exists, as well.
Mobius tells a story of twin brothers Mark and Caleb, both on the different spectres of society. A long time ago their mother was murdered, and Caleb was the one to find her. Mark takes it upon himself to care for his brother, but, as the years go by, and Caleb sinks into despair and nothingness, Mark's resolve is loosening its grip and he ultimately casts his brother off, refusing to even speak to him. Split from each other, brothers start a lengthy walk on an uncertain road leading to reconciliation — a trip which will change the both of them for good. And while Caleb seems to be finding his way, with a help of a wise old Indian (of Geronimo, not Ghandi variety), Mark's life starts slowly dissolving.
Mobius is the feature-length debut of UCLA grad Joaquin Montalvan, who previously helmed some shorts and a couple of documentary subjects, most notably one about hurricane Katrina. Considering his academic credits, it would be grossly unfair to call him a "backyard Lynch", but the spirit of David Lynch's work is strongly present within this film. Basically, what we have here is a collection of recollections, seen through the eyes of either Mark or Caleb. Montalvan separates the two by using colour in Mark's scenes, and black and white for Caleb, which creates an interesting split between the two, additionally influencing your outlook on this story. On their voyage, both brothers meet odd characters who speak to them in philosophical riddles, creating surreal situations.
By now, you should be aware that this is not a film for everyone's taste. A slow burn, even at its seventy-five minutes of running time, and with storyline presented in pieces left for viewer to pick up along the way, Mobius nevertheless has some mysterious appeal attached to it, mostly thanks to very capable direction and editing and likable performances of its leads. Starring as Mark/Caleb is Paul E. Respass, who is not an exceptional actor, yet he nails the both parts by just looking right and evoking the proper reaction from the viewer. Ivan Naranjo is the pick of the support cast, playing the old Indian with an aura of wisdom radiating from his body, while the director himself has a bit part as an auxiliary character which appears to both Mark and Caleb, looking quite like a young Robert Smith (of The Cure fame).
Additional flavour is added by some location work. Certain parts of the film have been shot in the desert (I believe I saw Death Valley mentioned in the ending credits), and those count among the more interesting bits of the film. The desert setting, along with "the messenger" (a mysterious character who inhabits the area), invoke the comparison with Alejandro Jodorowsky's work. Also, the desert scenes made me think of the latter-era Doors — I could almost hear "Riders on the Storm" during some stretches. The film was shot completely on DV, but here it looks better than usual, especially the black and white scenes which are virtually grainless and almost always well-lit.
Still, the mere presence of such a fragmented narrative and arthouse leanings will make this a difficult sell to the regular audience. Even the most battle-hardened indie fans will find Mobius a laborious experience, as there are no conventional "scares", nor gore or nudity, not to mention the fact that, say, Eraserhead looks superbly comprehensible in comparison. That said, this film will find its audience, and they might find it an interesting experience. Montalvan makes the best out of this opportunity, and I'll be looking forward to seeing if he can build on this. If you enjoy early Lynch, Jodorowsky, and similar work, give this one a go.
NOW that you've READ the review, you can VIEW the trailer...
Slash, hack, blood, gore, breasts...and again. Most of the time, those five words will faithfully describe majority of indie horror films one seems to find nowadays, as it seems that extremity is the nearest pathway towards success (or notoriety, as you might imagine). Even if the films are not loaded with gore, they will feature one traditional monster or another, and zombies seem to be particularly popular. As it turns out, the advent of digital camera has created many backyard Romeros and Fulcis, and not yet a single Lynch or Jodorowsky. Until a copy of Joaquin Montalvan's Mobius landed in my mailbox, and I was shown that this kind exists, as well.
Mobius tells a story of twin brothers Mark and Caleb, both on the different spectres of society. A long time ago their mother was murdered, and Caleb was the one to find her. Mark takes it upon himself to care for his brother, but, as the years go by, and Caleb sinks into despair and nothingness, Mark's resolve is loosening its grip and he ultimately casts his brother off, refusing to even speak to him. Split from each other, brothers start a lengthy walk on an uncertain road leading to reconciliation — a trip which will change the both of them for good. And while Caleb seems to be finding his way, with a help of a wise old Indian (of Geronimo, not Ghandi variety), Mark's life starts slowly dissolving.
Mobius is the feature-length debut of UCLA grad Joaquin Montalvan, who previously helmed some shorts and a couple of documentary subjects, most notably one about hurricane Katrina. Considering his academic credits, it would be grossly unfair to call him a "backyard Lynch", but the spirit of David Lynch's work is strongly present within this film. Basically, what we have here is a collection of recollections, seen through the eyes of either Mark or Caleb. Montalvan separates the two by using colour in Mark's scenes, and black and white for Caleb, which creates an interesting split between the two, additionally influencing your outlook on this story. On their voyage, both brothers meet odd characters who speak to them in philosophical riddles, creating surreal situations.
By now, you should be aware that this is not a film for everyone's taste. A slow burn, even at its seventy-five minutes of running time, and with storyline presented in pieces left for viewer to pick up along the way, Mobius nevertheless has some mysterious appeal attached to it, mostly thanks to very capable direction and editing and likable performances of its leads. Starring as Mark/Caleb is Paul E. Respass, who is not an exceptional actor, yet he nails the both parts by just looking right and evoking the proper reaction from the viewer. Ivan Naranjo is the pick of the support cast, playing the old Indian with an aura of wisdom radiating from his body, while the director himself has a bit part as an auxiliary character which appears to both Mark and Caleb, looking quite like a young Robert Smith (of The Cure fame).
Additional flavour is added by some location work. Certain parts of the film have been shot in the desert (I believe I saw Death Valley mentioned in the ending credits), and those count among the more interesting bits of the film. The desert setting, along with "the messenger" (a mysterious character who inhabits the area), invoke the comparison with Alejandro Jodorowsky's work. Also, the desert scenes made me think of the latter-era Doors — I could almost hear "Riders on the Storm" during some stretches. The film was shot completely on DV, but here it looks better than usual, especially the black and white scenes which are virtually grainless and almost always well-lit.
Still, the mere presence of such a fragmented narrative and arthouse leanings will make this a difficult sell to the regular audience. Even the most battle-hardened indie fans will find Mobius a laborious experience, as there are no conventional "scares", nor gore or nudity, not to mention the fact that, say, Eraserhead looks superbly comprehensible in comparison. That said, this film will find its audience, and they might find it an interesting experience. Montalvan makes the best out of this opportunity, and I'll be looking forward to seeing if he can build on this. If you enjoy early Lynch, Jodorowsky, and similar work, give this one a go.
NOW that you've READ the review, you can VIEW the trailer...
"Horreur.com" reviews M O B I U S!
Apr 30, 2007 09:19PM
Mark & Caleb are two twin brothers. Their mother was murdered in front of Caleb. Mark swore to take care of him, but ended up renouncing that commitment after seeing the downturn that his brother was taking. Indeed he, with the passing of years, became a marginal being with psychotic tendencies. For Mark, his twin is only a source of torment. He doesn't seem to forgive him for having been their mothers favorite, and even blames him for her death. Seemingly, the ways of the twins appear perfectly antagonistic, when actually they are inextricably dependent. When Mark meets a strange group of individuals, which seems to bring him closer to Caleb, it develops into something fatal.
When I committed myself to reviewing this film, I expected a version of "Maniac" or "Henry: Portrait of a Serial Killer ". In fact, "M O B I U S" brings up more than one aggressive David Lynch, and not in the manner of the typical psychopath film. "M O B I U S", here is an intriguing title. It borrows from a German mathematician and astronomer, answering to the name of August Ferdinand Möbius, known to have studied geometry, and more particularly, topology. Without launching into an explanation of this impenetrable discipline - of which I am in no position to explain - it is of paramount importance to understand what this German scientist did, since it is the basis for this film. Furthermore, Möbius is the father of the very famous "Ribbon of Möbius" by which a spatial paradox is demonstrated. Indeed, the aforementioned infinite ribbon has only one face. By scraping the surface, one travels back in space. The creation of this object is very simple. Simply, cut out a paper band, which you then twist in half in order to bore it out. Then, by joining the two ends, one obtains the infinite ribbon in question (there are several alternates, such as the "infinity" sign). Thus, what is the relationship between this German mathematician of the XIX century, and Joaquin Montalvan's film? The connection is not of top priority, since the full-length film of the American is neither a biography of Möbius, nor an analysis of his work. The connection is in fact, at the psychological level in this film, which is built like the ribbon of Möbius. Difficult to imagine? Then, to understand, consider this! "M O B I U S" resembles a second reading of the psychotic Alice In Wonderland, yoked to David Lynch.
The central subject of the film is thus the gemellity, and obsessions of the two brothers involved. Here the approach to the subject is understood by the ribbon of Möbius' two faces, which are in fact only one and the same, when one tries to define their limits. Indeed, Mark and Caleb seem, at the beginning, to be two clearly distinct individuals. However, as the film progresses, the differences between the twins seem more and more hazy. Thus, each face of the ribbon is differentiated by the use of a different color. Mark operates in a world sometimes close to the tone sepia, in which the image is then flooded with the color ochre and amber. As for Caleb, things appear in black and white, and often slightly over-exposed. During travel, Caleb meets an old American Indian who gives him the keys of his appeasing through an enigmatic philosophical tirade. The wise old man thus guides him on his way to the cross. Whereas his brother seems to retravel the same path, Mark, which until now seemed the more balanced of the two, seems to sink. Indeed, his thoughts were poisoned by a group of strange characters, a little too curious in this connection. Life then seems to slip inextricably on the other side of the ribbon.
With the vision of "M O B I U S", the viewer finds a film with contours that aren't always very clear. It is not the sign of an awkwardness of realization, but rather of a party taken on behalf of the scenario writer. The work of Joaquin Montalvan, is indeed at the cutting edge of film, but never completely falls over the edge. One however finds significant elements, the presence of hallucinated protagonists, and various visions... As for the narrative screen, it borrows on the side of David Lynch, allowing some freedoms at times, while tending to sow doubt for the spectator. "Is this a phantasm? Which is the character of reference?" Measuring thus functions a little like a dream, in turn clear and cloudy. "M O B I U S" also recalls the films of Jodorowsky, in its use of iconographic characters like the old Indian - and its metaphorical operation. The film is not understood in a single or superficial viewing, but rather, requires to be plunged into, to decode the profound. The phantom of the Mexican genius hovers, and is made to be understood in the last half of the film, where the use of a purely iconographic language replaces any other form of expression.
Speaking musically, the film shows its limits, during the scene in which Mark meets the strange characters who dope him without his knowledge. The scene seems right out of a synthesizer of passably doubtful quality. The style is moreover, rather indigestible, between jazz and easy listening. But "M O B I U S" makes honourable amends by proposing a stripped score, of a simplistic beauty, and of extreme effectiveness in its last minutes. Joaquin Montalvan thus makes an almost full box with his second full-length film. If the image suffers sometimes, from defects due to the video, and certain framings that could be improved, the final result remains no less, than very great in quality. Nothing to waste. Certainly, the film is of a very great quality. Finally, the principal actor transcends his role, sublimely in the film; the realization emphasizes his game, and his presence.
Still, a nugget of American independent cinema.
by Colin VETTIER
NOW that you've read the review you can view the trailer!
Mark & Caleb are two twin brothers. Their mother was murdered in front of Caleb. Mark swore to take care of him, but ended up renouncing that commitment after seeing the downturn that his brother was taking. Indeed he, with the passing of years, became a marginal being with psychotic tendencies. For Mark, his twin is only a source of torment. He doesn't seem to forgive him for having been their mothers favorite, and even blames him for her death. Seemingly, the ways of the twins appear perfectly antagonistic, when actually they are inextricably dependent. When Mark meets a strange group of individuals, which seems to bring him closer to Caleb, it develops into something fatal.
When I committed myself to reviewing this film, I expected a version of "Maniac" or "Henry: Portrait of a Serial Killer ". In fact, "M O B I U S" brings up more than one aggressive David Lynch, and not in the manner of the typical psychopath film. "M O B I U S", here is an intriguing title. It borrows from a German mathematician and astronomer, answering to the name of August Ferdinand Möbius, known to have studied geometry, and more particularly, topology. Without launching into an explanation of this impenetrable discipline - of which I am in no position to explain - it is of paramount importance to understand what this German scientist did, since it is the basis for this film. Furthermore, Möbius is the father of the very famous "Ribbon of Möbius" by which a spatial paradox is demonstrated. Indeed, the aforementioned infinite ribbon has only one face. By scraping the surface, one travels back in space. The creation of this object is very simple. Simply, cut out a paper band, which you then twist in half in order to bore it out. Then, by joining the two ends, one obtains the infinite ribbon in question (there are several alternates, such as the "infinity" sign). Thus, what is the relationship between this German mathematician of the XIX century, and Joaquin Montalvan's film? The connection is not of top priority, since the full-length film of the American is neither a biography of Möbius, nor an analysis of his work. The connection is in fact, at the psychological level in this film, which is built like the ribbon of Möbius. Difficult to imagine? Then, to understand, consider this! "M O B I U S" resembles a second reading of the psychotic Alice In Wonderland, yoked to David Lynch.
The central subject of the film is thus the gemellity, and obsessions of the two brothers involved. Here the approach to the subject is understood by the ribbon of Möbius' two faces, which are in fact only one and the same, when one tries to define their limits. Indeed, Mark and Caleb seem, at the beginning, to be two clearly distinct individuals. However, as the film progresses, the differences between the twins seem more and more hazy. Thus, each face of the ribbon is differentiated by the use of a different color. Mark operates in a world sometimes close to the tone sepia, in which the image is then flooded with the color ochre and amber. As for Caleb, things appear in black and white, and often slightly over-exposed. During travel, Caleb meets an old American Indian who gives him the keys of his appeasing through an enigmatic philosophical tirade. The wise old man thus guides him on his way to the cross. Whereas his brother seems to retravel the same path, Mark, which until now seemed the more balanced of the two, seems to sink. Indeed, his thoughts were poisoned by a group of strange characters, a little too curious in this connection. Life then seems to slip inextricably on the other side of the ribbon.
With the vision of "M O B I U S", the viewer finds a film with contours that aren't always very clear. It is not the sign of an awkwardness of realization, but rather of a party taken on behalf of the scenario writer. The work of Joaquin Montalvan, is indeed at the cutting edge of film, but never completely falls over the edge. One however finds significant elements, the presence of hallucinated protagonists, and various visions... As for the narrative screen, it borrows on the side of David Lynch, allowing some freedoms at times, while tending to sow doubt for the spectator. "Is this a phantasm? Which is the character of reference?" Measuring thus functions a little like a dream, in turn clear and cloudy. "M O B I U S" also recalls the films of Jodorowsky, in its use of iconographic characters like the old Indian - and its metaphorical operation. The film is not understood in a single or superficial viewing, but rather, requires to be plunged into, to decode the profound. The phantom of the Mexican genius hovers, and is made to be understood in the last half of the film, where the use of a purely iconographic language replaces any other form of expression.
Speaking musically, the film shows its limits, during the scene in which Mark meets the strange characters who dope him without his knowledge. The scene seems right out of a synthesizer of passably doubtful quality. The style is moreover, rather indigestible, between jazz and easy listening. But "M O B I U S" makes honourable amends by proposing a stripped score, of a simplistic beauty, and of extreme effectiveness in its last minutes. Joaquin Montalvan thus makes an almost full box with his second full-length film. If the image suffers sometimes, from defects due to the video, and certain framings that could be improved, the final result remains no less, than very great in quality. Nothing to waste. Certainly, the film is of a very great quality. Finally, the principal actor transcends his role, sublimely in the film; the realization emphasizes his game, and his presence.
Still, a nugget of American independent cinema.
by Colin VETTIER
NOW that you've read the review you can view the trailer!
M O B I U S (the end)
CALEB (NEW Look)
Staring Inside
CALEB at Home
CALEB (NEW Look)
Staring Inside
CALEB at Home
2 Comments about M O B I U S
Mar 12, 2007 11:25PM
JOAQUIN MONTALVAN is one of the most innovative independant film producers of our time.
Mar 12, 2007 11:05PM
Who sang "Helpless" at the end of the movie.
Where could I get the music.
It sounds like jim Barile from his deput cd, "IF YOU GET CLOSE YOU CAN HEAR."
If i am not mistaken, I believe jim Barile has played with some of the greatest music legends in history such as Delaney Bramlet.
Special appearances on his CD disc:
Delaney Bramlett, from Delaney & Bonnie and Friends.
Delaney has played with such greats as Eric Clapton, Duane Allman, and George Harrison. John Molo, who has toured with Bruce Hornsby and Phil Lesh and Friends. Albert Lee, who has toured with EmmyLou Harris and Bill Wyman. Augie Meyers, who toured with Bob Dylan, The Texas Tornados, and The Sir Douglas Quintet. Rosemary Butler, who has been the background vocals for such greats as James Taylor and Jackson Brown. Jeff Pevar, from Crosby, Pevar, and Raymond. Mickey Raphael, the harmonica Wizard for the Willie Nelson Group. Essra Mohawk, from the Frank Zappa and Mothers of Invention. Sky Sunlight Saxon, the leader of the Seeds.
This CD was produced by Grammy Nominee Chad Watson.
You may know of his work with Janis Ian, Charlie Rich, or David Arkenstone.
check it out at: www.jimbarile.com
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