On Sept. 14, 2009, Kid Cudi gave the world a vibrant, psychedelic tour of his mind and his lifelong struggle with mental illness. Now, ten years and several albums later, Cudi’s breakout concept album Man on the Moon: End of the Day remains as essential, fresh, and moving as ever.
There were no duds at Frog Baby Film Festival 2018. From top to bottom, the lineup of short films was full of clever and enjoyable submissions in a wide range of genres and styles. The cowboy westerns, action and horror films, and dystopian comedies made it impossible to know what to expect next, and that’s not even to mention the categories for documentaries and music videos. The only thing these films had in common was that they all showcased the undeniable talent of Ball State’s own home-brewed filmmaking community.
Pretty. Odd. finds meaning in vibrant personifications of nature and small doses of reality crouched in fantasy. A psychedelic naturalism and lively effervescence spills from its 15 eclectic tracks.
This year, as the pink candy was discounted and the little red hearts went back in storage, the clouds parted and Frank Ocean descended with a rich, moody song to balm hearts overwhelmed by love found, love lost, and love never reciprocated.
1960 was a remarkable year for horror movies with iconic titles like Psycho, Eyes Without a Face, and The Little Shop of Horrors as well as strong adaptations of Poe and some delightful B-movie fare. One such film, The City of the Dead, is an interesting case as it toes the line between kitschy genre piece and compelling, unsettling “what if” about modern witchcraft.
How, then, does one create a mold-breaking social issue film? Indiana filmmaker Andrew Davis’s feature length debut, Indiana, has plotted what may be that mold-breaking approach to the social issue film.
These award winners have more in common with the traditional studio production model than with the innovative, accessible spirit of online video. These productions are not bad or in the wrong by any stretch of the imagination – they simply don’t align with The Streamy’s stated creator-centric intentions.
