"[FROWNLAND is] a jagged little pill of a movie, in turns scary and strayed, honest and threatening, funny, frustrating and frazzled. A crummy window into a world where not just its creators but everyone feels rootless and displaced...

"More succinctly, Frownland is my own small contribution to the sinking barge of the 16mm indie model; both an overripe tomato lobbed with spazmo inaccuracy at the spotless surface of the silver screen and a mad valentine to the craggy tradition of unadulterated cheap-o-independent expression. Its inelegance is its spirit."

--Director's Statement, Ronald Bronstein

I have seen a lot of striking work so far this year, but no film floored me like Ronald Bronstein's FROWNLAND (be sure to check out the website, but I recommend that you hold off on watching the clips until you've seen the film in its entirety). When I saw it at the Maryland Film Festival back in May and the final credit rolled, my only thought was, "THAT is how you motherfucking DO IT." I was electrified and inspired as I left the theatre, yet at the same time I was terribly depressed, for there is a clear difference between genius and normalcy, and after watching FROWNLAND, I was reminded that I'm firmly entrenched on the lesser side of the fence. Whether or not it is an outright masterpiece--and I venture to say that it most certainly is--one cannot deny the incredibly precise, distinct, brutal, hilarious, and untainted vision of Ronald Bronstein.

As for the film itself, much has been made about the abrasive, confrontational nature of it, but what people don't seem to realize is that it is a comedy. If you don't laugh at the early snot bubble launched and then retracted by Laura (Mary Bronstein) in her car, then you almost certainly won't be on board. But I am telling you right now to remember this snot bubble and to laugh at it, because FROWNLAND is very, very funny. The best part about all of this is that Bronstein is not interested in being hateful and condescending towards his characters, which only makes his achievement more miraculous.

For some reason--perhaps because it belongs in the genius category--FROWNLAND hasn't connected with film programmers or distributors. Which confirms my use of the word genius. People don't know what to do with a work so distinct and personal. Which is a downright shame. I'm far too tired to write more eloquently about FROWNLAND right now, but I plan to devote much more time and space to this brilliant, twisted, insane movie. Instead, I'll point you to this phenomenal interview with Ronnie and David Lowery, who, as usual, said it better than I ever could.

The last movie I demanded all of my friends to go see was Lodge Kerrigan's KEANE, which is funny because Lodge is introducing FROWNLAND tonight. The film is screening tonight at 7:30pm as part of Filmmaker Magazine's 'Dialogues on Film' series, moderated by Scott Macaulay. Go to the IFC Center website for more details.

If you live in or near New York City and aren't in Toronto along with the rest of the indie film industry, I personally demand that you buy a ticket for tonight's special screening of FROWNLAND, as it might be a very long time before any of us get to see a 35mm print on the big screen again. Even if you find it hard to take, you won't be able to deny it. So buy a ticket and get ready for some cinematic genius, because films like this don't come around very often.