Monday, November 21, 2011

Fighting Fish

My friend Eeon had a video camera back in college and used to film all sorts of weird things, like me talking to our friend Jim about pornography (and inserting Chewbacca in post) or making a music video for his hit song "Emo Kid," the follow up to 2003's "Crazy Werewolves" and both featured on his album Bad Music for Bad People, still rated as Triangulon Records top-selling album. He also served as the cinematographer on my film Barbie Girls which, God willing, will never see the light of day.

But here, in it's entirety, is perhaps Eeon's most famous film, "Fighting Fish."

Eeon is really a master of sound, bringing to the film a Thom York-esq understanding of how sound can create not merely a mood, but an unconcious understanding of the underlying construct of the scene.  These are not just melodies, these are emotional notes.  The set design and the clever use of garbage, including the tin cans covering the windows--perhaps to block out the ever-present eyes of the Big-Brother-esq Department of Social Productivity (played with a subtle sinisterness by Jim Devona) give this film a gritty, Robocop-Detroit feel inside a confined apartment space, creating a realm which is both concrete and abstract in it's twisted parinoia.  It is not merely a box of Zebra Cakes, it is our faceless narrator's increasingly tangled emotional state, a head full of junk, not unlike the twisted wreckage of the car crash that claimed his parents lives.

Really, there isn't enough room on this blog to dissect and get to the core of "Fighting Fish."  It is a stark, brutal film, one that haunts and lingers long after the credits roll.

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