Review of 'Vulcanizer': probing the limits of guilt and anxiety

The phrase of the sardonic meme “are men well?” He obtains a gloomy work but in silence and devastating in the “vulcanizer” of Joel Potrykus, on a couple of oppressed types on a disturbingly consistent journey to the forest near Lake Michigan. In his eyes focused on a strange and funny friendship, he is almost fascinating without prejudice, since he travels to a very dark place.

That does not mean that “vulcanizer” lacks a point of view. Potrykus's cinematographic recreation patio, forged in small -scale curious as “buzzard” and “relaxing”, is the stagnant air of the failure surrounding a certain type of shameless, bitter and immature type for whom the richest challenges of life are the levels of video games and small jokes. Mel Brooks contextualized our perspective on misfortune when he said: “The tragedy is when I cut my finger, comedy is when you fall into an open sewer and die.” But Potrykus, whose Micro-Affocalypse of Slacer has become as distinctive as anyone in the independent DIY kingdom, seems to be in the intention of finding an inconvenience of a poetic space between those Poles, where their giggles could be colored by a slight disgust, and sometimes it looks like an insect that is still an insect that is still an insect that is still an insect that is still an insect that is still an insect that is still an insect.

“Vulcanizer” is a 10-year follow-up of “Buzzard”, because the word “sequel” sounds almost too materialistic for the Lo-Fi rate like this. But knowing that may not be needy, beset as The Story's Humans Come View From The Leafy Serenity of Adam J. Minnick's 16mm Cinematography, It Doesn't Take Long To Grasp Who Marty, Played By Longtime Potrykus Collaborator Joshua Burge Burge, And Motormouth Derek “

The details of his pact are not initially clear, but the trip seems inclined towards the appeasement of the additional pleasures of Derek: bottles rockets, martial arts that act, accompany Jaeger of a canteen, porn magazines. Marty, meanwhile, with hollow and rude eyes about moving away from his goal, seems tormented with guilt after a recent period in jail for burning a building. (Marty's deteriorated life of little mountain crime was the loose narrative of “Buzzard”, although he is better known for a long taking of him eating disorderly spaghetti that could almost qualify as Dirtbag's performance art).

Burge is a unique screen presence, as a misfit of R. Crumb made real made, and is almost moving how much faith has Potrykus in the uncomfortable majesty of remaining on his face so that Marty's sour desperation drives us to want to make him laugh to feel sorry for his misery. But Potrykus, whose character was mainly a boxing sack in “Buzzard”, there is also the opportunity to make this a true Dosly when the vibration of Derek's regrets finally goes out to the surface: he has a 5 -year -old son who knows that he has no father, and we see the man lost inside the teenager. Potrykus makes a psychologically revealing meal of each nerve interjection of Derek's until they become animals and finally sad.

Early with emotion after expressing something of that deep pain and maybe try to avoid a reality without reverse, Derek tries to convince his friend that he feels better taking out everything. But Marty is there to let him know that tomorrow he will feel bad again. And that also feels real, as if it were the moral of this fable that surprises you.

But then, in the gleaming coast of the lake, “vulcanizer” reveals its most true colors with a horrible and absurd turn of destination for these two that, if not exactly unpredictable, begins a final act of a very trembling, eccentric and rare grace on the complicated bonds of friendship. The end is a disappointment, it's fine, but you could also smile. Then feel bad about that. Then laugh. That is when you realize that Potrykus has you just where he loves you.