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Beginning in February 2015, Montclair Art Museum will present Come as You Are: Art of the 1990s, the first major museum survey to examine the art of the pivotal decade in its historical context.
Baristanet had a sneak preview of the Exhibition Catalogue and we’re very excited for the opening. The folks over at the Montclair Film Festival are excited too and have partnered with MAM to put together a series that will highlight films that defined the 90s as a decade of when American independent film came into its own. The painter Julian Schnabel made his filmmaking debut with BASQUIAT, his portrait of his friend and fellow downtown New York City artist, Jean Michel Basquiat (Geoffrey Wright). As one of the first independent American films written, directed, and produced by an African American woman, Leslie Harris’ JUST ANOTHER GIRL ON THE IRT holds an important place in film history. Bennett Miller (CAPOTE, MONEYBALL, FOXCATCHER) began his career as a filmmaker with THE CRUISE, a documentary portrait of Timothy “Speed” Levitch. Quentin Tarantino’s JACKIE BROWN is a pivotal film in the career of perhaps the 1990’s most famous independent filmmaker; transitioning from the pulp violence of his previous films, JACKIE BROWN signaled a newfound maturity in the filmmaker.
Widely considered one of the seminal films of the 1990’s, Todd Haynes’ masterpiece SAFE is the story of Carol White (Julianne Moore), a well-to-do suburban housewife whose life is inexorably altered by the sudden, inexplicable onset of an unnamed chemical sensitivity.Echoing the era’s political and social treatment of the quest for understanding during the AIDS crisis, SAFE remains a searing experience for contemporary audiences. Generation X, the cohort born between the early 1960’s and 1980’s, achieved its commercial, cinematic apotheosis with REALITY BITES, the directorial debut from Ben Stiller. Tickets can be purchased per film or in a package for all six films beginning on December 1; tickets are available online here or onsite at MAM on each screening date starting at 6 pm. Featured CommentCongratulations to coach Weber whose teams have dominated this competition since its founding in 2006.
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The director has worked with the 25-year-old on three occasions, with both Silver Linings Playbook and American Hustle being nominated for Academy Awards while their latest project together, Joy, is rumoured to also be in the running for an Oscar.
The film is semi-based on the real life of Joy Mangano, an American inventor and businesswoman who rose to fame in the 90s after creating the Miracle Mop.
Indeed, Mangano's rags to riches story is incredible on its own, with both Russell and Lawrence having previously expressed just how amazed they were by her when they met. This is, after all, her tale: one of a woman who overcomes the diminishing odds to become a success while not forgetting where she came from. O’Russell explains that Joy, like the titular character of Francis Ford Coppola’s legendary films, was a tolerant person, capable of forgiving those who betrayed her.
Whether, like The Godfather, Russell's film will stand the test of time is yet to be seen, but with Oscar announcements on the horizon, it would be no surprise to see it up for an award or two. Armed with a 16mm Arri SR2 camera using black and white film stock, Kevin Smith made the quintessential slacker film of the 90s. There was an influx of indie films in the early 1990s and Party Girl stood out from the crowd. Stranger Than Paradise is the closest thing you can get to a reality based film without it being one; the way it’s filmed seems like you’re right there with the three protagonists, filming them yourself. More than any other film, Sex, Lies and Videotape encapsulates the American independent film renaissance of the late 80s and early 90s. About the AuthorNeal Damiano calls himself “an unhip film geek” who mixes his passion for movies with an enthusiasm for travel, music and journalism.
Some great choices just goes to show how film-makers get to do what they want outside the studio system.
The latter is understandable … until the fashion cycle goes full circle, anything that was made in the 1980s will always look like something from the 1980s. Still, regardless of my many gripes, both these movies DO have legitimate claims to be in a top 10 indie list …. Sex, Lies, And Vdeotape is a slow moving film and very much signature 80s, but the content was racy for its time and Soderburgh was a unknown filmmaker that got very little backing for this. After some thought, I have a few alternatives: The Terminator, Blue Velvet, Dark Star, Pitch Black, The Usual Suspects, Killer of Sheep, Being John Malkovich, Grosse Point Blank, Dazed and Confused.
The exhibition will showcase approximately 65 works by 45 artists and will comprise installations, paintings, sculptures, drawings, prints, photography, video, and digital art.
The film follows Basquiat’s life and career, from naive outsider to the toast of Manhattan’s art scene, while firmly marking Schnabel as a singular filmmaking talent.
It also is a statement of empowerment, defying cultural and social stereotypes to present a wonderfully comic, moving time-capsule of early-1990’s era New York City. Part NYC tour bus guide, part existential philosopher, part tragicomic protagonist, Speed brings a unique perspective to everything he sees, providing a contemplative look at the relationship between the individual and the big city. The story of the ups and downs of a free spirited young filmmaker named Lelaina (Winona Ryder), and her yuppie (Stiller) and slacker (Ethan Hawke) suitors, the film addresses the perspectives and concerns of Gen Xers as they move from college into adulthood, resulting in a movie that has come to uniquely define its cultural moment. Bonus — All tickets include access to the Museum’s galleries to view Come as You Are: Art of the 1990s an hour before the screening begins.
But that story itself wasn’t the only attraction: there were dozens of similarities between the actress and the inventor. Miraculously, Smith funded Clerks using ten credit cards, raising the $27,575 he needed to produce the indie film. Parker Posey plays Mary, a free spirited club girl, who throws wild raves in her apartment to pay the rent. Shot in black and white, Stranger Than Paradise follows three drifters travelling from New York to Florida. The film represented anti-establishment to the core with the simple moniker – They’re not scared of you…they’re scared of what you represent.

Little did anyone know that this film fanatic and ex-video store clerk would change the face of cinema as we knew it.
Shot in Louisiana for $1million by first time director Steven Soderbergh, the film is an erotic ride of racy thrills that made quite the splash at Sundance in 1989. Gallo plays Billy Brown, a slacker with no goals in mind, that reaches an all time low when he bets $10,000 on the Buffalo Bills in the 1966 Super Bowl. If I was to add to it, I’d say The Blair Witch Project was an exceptional independent film. Does anyone think the big studios would have let QT tear someone’s ear off to the sounds of rock n roll? Wes Anderson clearly knew he was on to a winner when giving Baumbach total creative control.
I mean really, who the hell would carry out such a transaction at the end of an international airstrip? Perhaps it might have worked in a Roger Corman quikie, but it just slows the whole film down. It shows in his body of work, Reservoir Dogs is one of my favorite films, but I also loved Pulp Fiction it changed the way we look at cinema, very ground breaking & innovative film. Jackson) and the law (Robert Forester), JACKIE BROWN is Tarantino’s richest film, a dazzling crime story with a novelistic scope. To play Dante, Smith’s wise cracking clerk of a convenience store, he hired struggling New Jersey actor Brian O’Halloran primarily for his ability to work with the verbose dialogue. She finally gets arrested for illegally charging people before being released on bail and realising she needs to get a proper job. Welcome to the Dollhouse was his second film and definitely made its mark thanks to being one of the quirkiest films of the 90s.
Jim Jarmusch had such a unique, stylised way of filming – it was way ahead of its time, in my opinion. Shot in New York for six days on a shoestring budget, the film tells of the day to day antics of Charlie (Harvey Keitel) and Johnny Boy (Robert Deniro) which essentially consists of brawls and gunfire. Tarantino, obsessed with b-movies and indie films, went on to become a cultural icon in cinema.
Daniels’ character is so self righteous, he’s almost unlikeable, but somehow you feel empathy for him.
The film is not conventional in any way at all until the end and that’s what makes it so quirky. It’s low budget filmmaking at its finest, using a fun day-in-the-life premise and hilarious dialogue to propel the story. Jarmusch is the man I really admire, you can’t blame him for sticking to indie cinema and doing what he damn well pleased.
With all those planes taking off and landing overhead, it’s hard to imagine sneaking down there for a lunchtime toke, let alone pulling off the deal of a lifetime (interestingly, when the film was shown on free-to-air TV in Australia during the late 1970s, this exposition was all cut out). This is the first time I’ve seen The Squid and The Whale ranked alongside Reservoir Dogs and Mean Streets and it is a well-earned recognition. But I do regret not putting Bottle Rocket on here, I absolutely love that film, such a great indie film! Born in Minneapolis, Minnesota, Vincent Kartheiser graduated from the University of California – Los Angeles with a degree in History. In time for Halloween and in conjunction with a month devoted to American independent horror, The Dissolve decided to determine the 30 best examples of this tradition.
Set across a single day, we meet all sorts of quirky characters, the result being one of the most hilarious indie films of the 1990s. Solondz has such a unique way of telling a story on screen that he often divides audiences. Two travel buddies Billy (Hopper) and Wyatt (Peter Fonda) epitomised the druggy rebellion of the 60s drop-out generation with their Wild West mentality and costumes. Johnny boy seems to have a death wish, which he is trying to fulfil, as he sinks deeper and deeper into debt with the local mob bosses and then spits in the face of authority. So to make amends with the bookie he takes the rap for a crime committed by one of the associates. I heard Gallo and Ricci hated each other on set…I think it made their performances better. Then he sold out, made Mallrats with Universal, and never reached the heights of Clerks again.
He began acting professionally in the early 90s, beginning with a small role in the film, "Untamed Heart".
The film still resonates today because of the timeless theme it promoted and that is individualism. It grew to prominence thanks to word of mouth, and the film set the stage for the indie film explosion in the early 90s.
Fresh out of jail he decides to kidnap a fiery little dance student named Layla (Christina Ricci) to play his wife as he returns home to have dinner with his family. Pulp Fiction may have made Tarantino’s non-linear storytelling popular, but Reservoir Dogs truly introduced the world to it. When it comes to independent film, Rodriguez’s bigger budget, studio-backed Desperado was far better, making his earlier, low-budget effort more of a calling card than top 10 contender.
Throughout the late 90s and early 2000s, he went back and forth between family-friendly projects and edgy independent films, including, "The Indian in the Cupboard", "Masterminds", "The Hairy Bird", "Crime and Punishment in Suburbia", "Luckytown", and "The Unsaid".
Heavily influenced by 70s cinema, Tarantino used witty dialogue, pop culture references, and creative shots to tell the story of a violent jewellery heist gone wrong. The bond between the two is unlikely but does spark up and it’s interesting to see the two misfit characters relate to each other as if they are the only two people left on earth.

In 2002, he was cast in the role that would make him a household name, as Connor on "Angel". Reservoir Dogs is a very bloody ride from beginning to end, and features one of the most graphic scenes involving a strait edge razor and an ear you’re ever likely to see.
What I found so fascinating about this film is that both parents have few redeeming qualities, but somehow you still care for them. After completing the run of "Angel", he appeared in various films before returning to television work in a co-starring role on the hit series, "Mad Men". Some of the performances are so over-the-top, they suggest the title refers to the film’s goofy aesthetic rather than its setting, but the hilariously dated early-1980s fashions and heavy Noo-Yawk accents only lull viewers into a false sense of security, and make the startlingly intense violence that much more upsetting.
She went on to do several other indie films, and Hollywood affectionately labelled her the Indie Film Queen. The chemistry between Gallo and Ricci is undeniable, you can’t take your eyes of the screen. In addition to his work on "Mad Men", he has also appeared in the BBC series, "Money", and the film "In Time".Have something to add to this net worth?
Angela is borderline-catatonic after the death of her father and brother many years before, and the other campers tease and pick on her until, one by one, her tormenters start winding up dead.
We scan all publicly available data and resources and work diligently to ensure that our numbers are the most accurate and up to date net worth data you will find anywhere on the internet.Did we make a mistake?Submit a correction suggestion and help us fix it! While this is great news for Tepper, it's causing panic for the New Jersey Treasury Department, as it stands to lose upwards of $140 million per year in income tax revenue. It isn’t a terrifying film by any means, but Nadja has a richer sense of history than most modern vampire tales, while being playfully experimental and surprising in its themes of family and relationships. Movie moment  When Nadja senses that her father has been killed, she and Renfield (Karl Geary) head down to the morgue and demand to pick up the body. A stellar cast that includes Peter Mullan, David Caruso, and the movie’s co-screenwriter, Stephen Gevedon, ventured into an inherently frightening location, and relied on cinematographer Uta Briesewitz to approximate the naturalistic, filmic look of low-budget 1970s genre pictures, while they all told the story of an asbestos-removal crew affected by the history of madness at their worksite. Doing a lot with a little, Anderson leans heavily on audio tapes found by the cleaners, which explain the encroaching evil, but also let Anderson spook the audience with the sinister sounds of disembodied voices, allowing the viewers to conjure their own worst nightmares. Movie moment An abandoned asylum is creepy enough in the daytime, with co-workers spread around the halls. It’s even scarier at night, when a member of the cleaning crew, Hank (Josh Lucas), sneaks back in to pillage some antique coins. Gunn delivers the genre goods to some extent with intermittent bursts of highly creative violence and achingly sensual sex, but he Trojan-horses these commercial elements within a dream-like meditation on the nature of violence, sex, destiny, and the African diaspora. Gunn and his collaborators respect audiences’ attention spans and patience enough to let his story unfold slowly and enigmatically, with an emphasis on mood and tone over conventional shocks. Alas, distributors did not have anywhere near as much faith in audiences, and the 110-minute cut that played at Cannes was hacked to 78 minutes in its theatrically released version, though Kino recently released a restored version. The film explores a city invisible to tourists, a nighttime world of cheap thrills, casual violence, and sexual depravity as seen through the eyes of the titular Henry (Michael Rooker, in a frighteningly committed, career-making performance), a remorseless serial killer who singlehandedly eliminates a goodly percentage of the city’s population with the help of his incestuous, pot-dealing sidekick Otis (Tom Towles).
The film combines the unapologetic nastiness and fearless transgression of an X-rated grindhouse slasher with the psychological depth and intense realism of a John Cassavetes film. In seeking vengeance, the sheriff forfeits his authority and falls into the same moral tar-pit as his adversaries. Where Saw shocked audiences by showing everything, Insidious used suggestion and old-fashioned discretion to unnerve viewers. Patrick Wilson and Rose Byrne play suburbanites who come to think their house is haunted, only to discover the problem goes deeper than that. Wan and Whannell tip their hat to everything from Poltergeist to The Haunting, but the real source of inspiration seems to be the cheap, unsettling films Val Lewton produced in the 1940s. Like Lewton, Insidious uses shadows, slow-burn chills, and offscreen space to tremendous effect, though the film isn’t too proud to juice the shocks with loud noises, as is the way with modern horror. But as creepy mythmaking and low-budget supernatural-horror-action, it’s spectacular. Coscarelli (who also wrote, produced, edited, and served as his own DP, with his mother credited on makeup, production design, and wardrobe) started with a mysterious ghoul (played by Angus Scrimm, who immediately became the series’ Robert Englund) digging up and stealing corpses. When a couple of gun-happy local yokels investigate and try to stop him, they find out that his weird conspiracy spans worlds—and three sequels, with a fourth planned for 2015. The premise is ambitious enough to reach well beyond this first weird, cultish, thoroughly enjoyable outing, but this is the one that feels most inventive, idiosyncratic, and authentically scary, because it’s so predicated on the unknown.
Made on the cheap, but stylishly and with memorable shocks, May goes to gory extremes, but it feels more extreme in the unusual way it focuses on a female protagonist rather than the usual male slasher, and the way it specifically explores feminine shyness and sexual fixation in a forlorn and knowing way. Movie moment The film turns from painful romantic drama to horror in one moment, when May, having watched Adam’s gory experimental black-and-white film about two lovers consuming each other, bites his lip and smears his blood erotically on her chest. It’s the action of a woman with no comprehension of social or sexual norms, trying to be game and please her lover, but his revulsion drives everything that follows. It also says something pointed about the gap between our darkest cinematic fantasies, and what we actually want to experience in real life.
Shot by Nicolas Roeg, the film stars Price as the decadent, satanic Prince Prospero, who lives life to the fullest while the peasants outside starve and suffer from disease. In keeping with the story (though the adaptation is extremely loose), Prospero gets his comeuppance in the end.

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