Uncle Kent 2.0: Re-cut and More Awkward?

Uncle Kent a Sundance Select film by Joe Swanberg proved to be my first film of Sundance 2011.   Just like myself, Mr. Swanberg was making his first Sundance Debut, though not his first film as the man has a fairly impressive IMDb resume of a few independent director titles and a good list of acting credits from the last 6 years.  Much like you, I went into this film knowing nothing of Swanberg or the film.  My attendance came much as a surprise to me, and all I was able to gather before entering the theater was two words: technology and love. Uncle Kent delivered both.

My initial reactions to the film were focus on the amateurish qualities of the film.  Much of the camera work, though some of it diagetic via a flip camera from the main character Kent (Kent Osborne), was obtrusive and reminded me of the many films I watched from my peers during my tenure as a film student.  However, I recognize this a part of the style as much of the film is meant to look like a blogger documentary style shoot.  Still I feel was left disappointed with the cinematography of Uncle Kent, and offer a helping hand to Joe Swanberg in asking him to study The Squid and the Whale by Noah Baumbach.  Swanbergs attempt at this semi-autobiographical piece fell short in the attempt to engage me in the faux documentary style he strived for.

The content of Uncle Kent, though not really what I tend to seek out in films was full of subtle commentary on the state of an aging bachelor living in Los Angeles.  I remained unable to relate to Kent as a character and therefore any hope of narcissistic ego identification and personal connection to the film was lost, sorry Laura Mulvey.  Yet, the content remained pepper with comedic situations in the interactions between Kent and the two women he met online via Chatroulette and Craigslist.  It was in this awkwardness that the real substance of the film existed.

The film, though unimpressive in its current state, still has potential.  The presence of amateurish camera work, awkward characters played by unknown actors, and even more awkward content leaves me in the belief that with some tighter editing a substantial film can be made.  Swanderg fell into the same mistake that is easily made by many independent filmmakers in taking too much control of his film and shooting and editing it himself. Outside hands need to be used to re-cut this film into a more finely tuned version that truly highlights the awkwardness of it all.  If this film can be picked up and Mr. Swandberg allows them to re-cut the film without him, I would certainly give it another try.  As it stands now, I feel Uncle Kent looks and feels more like a film students capstone film, good enough to earn him a degree, but not quite good enough for the general audience.  So, Mr. Swanberg, please watch The Squid and the Whale, learn from it, and I will see you again for “Uncle Kent 2.0: Re-cut and More Awkward.”

Uncle Kent