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First, the Recap:
So, you want to make a movie, eh? Well, my friend, have at it! After all, it’s easy–right? It only takes writing a decent story, conjuring the needed capital to finance it, locating a dedicated crew to assist in creating it, casting the perfect group of actors to flesh out the needed characters, manifesting the pre- and post-production aspects to put it all together before and after shooting, and finding out that you’re not only the best director ever, but can even put yourself in the film as well, just for good measure. With no experience in any of it. At all. Period. Then there’s the ability to market and distribute the final product. Each facet dictated by a budget that might equal some middle class people’s yearly salary. Yes sir, making a film is no sweat. Join aspiring indie filmmaker Simon Boisvert and friends through their recollections of exactly how effortless and fulfilling it was.
Next, my Mind:
Let’s be frank–making a film is not remotely unchallenging, uncomplicated, trouble-free, undemanding, risk-free, or even fulfilling at all times. This would ring especially true within the realms of indie cinema, with its micro-budgeted endeavors and low chances of seeing real success with the efforts put forth. Yet, within this community resides the actual, tangible, foundational substance that makes dreamers strive to maintain their goals to achieve any level of notice as a filmmaker, to witness their work gain even an iota of a chance to be seen by others, and to ideally experience the ability to stand firm behind what they’ve done. All of this and more is brought to beautifully candid, raw, honest life via this 87-minute documentary from director/producer Simon Boisvert, whose personal journey into filmmaking yielded six feature-length projects, even as a complete unknown.
Weathering the entire gamut of possible emotions, reactions, criticisms, judgmental attitudes, gibes about his films, lack of acting ability, and just overall non-experience in the art of filmmaking, Boisvert’s journey is an ultimately inspiring one that showcases the well-grounded realities of what it is to reside in the indie film arena and to still manage to put together multiple projects over a span of nine years, without any real true success. But, there’s a perseverance, a no-fear manner, and a undaunted assurance to himself that he was going to make the films he wanted, the way he wanted, regardless of what anyone thought, and it quite literally “created” a genre of cinema very much distinctive to Boisvert, all while trying to illustrate some semblance of improving as a filmmaker along the way. That wasn’t often seen as successful, yet really did exist by the time his sixth film was made real.
Often casting himself as some of the most tasteless, sleazy characters he could, totally on purpose, in his first several films, Boisvert began to feel the weight of ridicule, though it never slowed him down in continuing to move forward in his aspirations. This go-for-it approach and demeanor comes out wonderfully via his sharing about the exploits, and his totally affable, down-to-earth tone and pleasant bearing completely belies the unsavory characters he so often chose to play in his films. Likewise, there is a wealth of equally insightful, entertaining, and matter-of-fact perspectives to be offered by a multitude of those who’ve worked with Boisvert during these filmmaking years of 2001-2009, including childhood friend Andre Ouellet, friend/actor Sylvain Latendresse, actress Diana Lewis, actress Melanie Elliott, actor/filmmaker Dario Gasbarro, film critic Kevin Laforest, distributor Roland Smith, actor Erwin Weche, Douteux.org’s Simon Chenier, former child actor Zachary Carmel, actor Pat Mastroianni, and actor Bruce Dinsmore.
All of them provide their own takes on what it was like to be on the same path as Boisvert as he strived to make his films relevant and successful on small budgets and unknown actors, with titles like “Stephanie, Nathalie, Caroline, & Vincent“, “Venus de Milo“, “Guys, Girls, & A Jerk“, “Barmaids“, “Swinging Couples (Echangistes)“, and “40 Is The New 20“. Finding certain amounts of PPV, On Demand, and video release for a couple of his efforts, even a limited theatrical run for two of them, it all equaled what most mainstream filmgoers would assess as utter, laughable failure. But, even as is shared by several of the individuals mentioned above, Boisvert had at least tried, somewhat improved, and/or otherwise enjoyed the mere fact that he kept on making what he did in spite of every potential setback that arose. Again–he made these projects the way he wanted. Period. In my opinion, this is the exact type of exposé on indie filmmaking anyone venturing into its domain should watch and learn from. For me, it’s that impactful.
Up or down, Boisvert and this group of associated thespians, friends, and supporters have presented the very essence of what it means to be a part of the film industry, painting a portrait of those whose absolute passion to create and willingness to not compromise, buck the odds, ignore the detractors, and just soldier on for the sake of the art form they love. This is the adventure well beyond mainstream as well as far beyond the tolerance and/or acceptance level of most cinephiles who just want Hollywood’s offerings and perhaps even scoff at indie efforts. But, that’s exactly it and the reality that so many, this critic feels, are therefore missing when it comes to giving this genre of filmmaking a chance. It isn’t always the best, it may have its technical faults, shaky acting, off-center camerawork, and mismatched soundtracks. But, also, there is the total commitment of the artists behind it and the sheer fact that escapes us too often–they MADE a film and put it out there for all to see–fearless. This IS the true heartbeat of independent cinema.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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