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Loren Cass

A Chris Fuller Film

The Studio@620 is thrilled to bring back "Loren Cass", a locally produced film by Chris Fuller which was initially screened at The Studio@620 three years ago. "Loren Cass" is finally receiving its due recognition with recent reviews in The New York Times and Variety.  Join us for this gritty film about modern american life, which was filmed entirely in St. Petersburg.

From Variety

A disembodied voice announces, "Back in 1997 ... " and the pic thrusts the viewer into a seemingly humdrum world of suburban homes, empty streets, unfriendly looking gas stations and diners where the working poor serve the working poor. But in the opening shots, writer-editor-director Fuller casts an exacting eye on the strange qualities lurking just below the surface of normality.

Angry skinhead Jason (Travis Maynard) and his buddy, auto repairman Cale (Fuller, under the pseudonym Lewis Brogan), pull a nasty prank on a black driver's car in the high school parking lot, sparking violent white-vs.-black reprisals -- staged with actors clearly pummeling each other onscreen without fakery or stunt maneuvers.

From The New York Times

A tough movie for hard times, “Loren Cass” is marked by despair, grunge, cultural collapse and spiritual dissolution. Set in St. Petersburg, Fla., during the aftermath of civil unrest that broke out in October 1996 following the shooting of a young black man by white police officers, this tense, contemplative film summons an atmosphere thick with physical and psychic hurt.

It begins with three young people stumbling into a kind of waking nightmare. Nicole (Kayla Tabish) is a waitress with sun-blasted blond hair, empty eyes and a car whose back seat is the frequent spot for desultory sex. Cale (Lewis Brogan, a pseudonym for the director, Chris Fuller), a jaded auto mechanic, encounters Nicole when her car breaks down, and he goes to work on it and her, initiating a sluggish, disaffected affair. Cale hangs out with Jason (Travis Maynard), a tight-jawed, rebel-without-a-cause type with multiple body piercings and ink. Who or what Loren Cass is remains unclear.

Overtly, ingeniously experimental in form, “Loren Cass” cuts among these three and an assortment of local wasted youth in an elliptical, intuitive manner, alternating listless scenes of opaque introspection and booze-fueled bumming around with sharp bursts of violence. The movie is a tour de force of mood and milieu, marshalling a hundred vivid details of landscape: parking lots, packing crates, shopping carts, peeling wallpaper, broken bottles, cheap salads, over-lighted diners, oily garages.

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