As a seasoned gamer with over two decades of immersion in the world of cinema, I find myself captivated by the raw and unpolished gem that is Jake Remington’s “$$$.” This micro-budget masterpiece reminds me of my early days exploring the gritty streets of New York City, where I too stumbled upon characters reminiscent of those portrayed in this film.
In a scene from the newly premiered movie at the Oldenburg Film Festival, the title “An Independent Production by Jake Remington” is displayed. This film, titled “$$$”, is incredibly low-budget and represents the bare minimum for feature films today. It resembles the early works of Cassavetes and Scorsese, making it the perfect fit for a festival that takes pride in presenting such challenging productions.
Despite the challenging commercial outlook for a film that runs just 63 minutes, it clearly showcases the promising talent of its debuting director-screenwriter, who has only one previous credit – the 2013 feature “The Romney Years”.
The drama unfolds with raw, monochrome visuals, focusing on two friends, Joe (Joe Sonnenblick) and Teo (Teo Babini). Their lives center around gambling on horse races, playing poker, and criminal activities. When they cross paths with a questionable character, as warned by Teo’s father, Bobby Haha (hopefully his real name), who has a shady past, it leads to dire outcomes. Among these is Joe ending up in debt to ruthless individuals who resort to lethal means to collect their due.
However, despite the straightforward plotline that seems familiar, it’s the compelling performances by untrained actors who convincingly portray characters reminiscent of themselves, as suggested by the filmmaker, that make the story more captivating. Additionally, the authentic settings, such as New York’s Belmont and Aqueduct racetracks, along with the typical late-night urban diner, contribute significantly to the film’s realism and appeal.
In my perspective, Remington’s writing echoes the sharp, evocative dialogue characteristic of classic film noirs. However, it’s tempting to think that some of the dialogues might have been spontaneously delivered by the talented actors themselves. For instance, one character poignantly remarks, “At 34, I’m still getting myself into these foolish situations,” a sentiment that rings incredibly true. Another character comments on racehorses, saying, “They’re born to run, and they’re born to lose.” The sport is strikingly depicted as “a mix of misery and images.
About a fourth of its duration has passed before the credits roll, this film showcases many distinctive stylistic elements. For instance, it uses montages displaying pictures of its characters/actors at different stages of their lives throughout their story. The realistic approach offers extended and captivating sequences depicting workers caring for horses diligently, including a scene where we see blood being cleaned from the floor following a particularly intense scene.
Similar to Cassavetes’ work, $$$ experiences some aimless parts, but its brief duration avoids excessive boredom. The characters aren’t charming company, yet they seem incredibly authentic, their despair oozing from the screen. In the festival’s Director’s Statement, Remington describes the film as a “love letter to NYC and the people who were born there.” If this is love, his expression seems quite unconventional.
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2024-09-13 01:24