Co-curator at Melbourne Cinematheque. Director.
The consumer-grade digital imagery, default font intertiles, and niche focus make it tempting to characterise this alongside contemporaneous web-distributed actor-director projects like Kickassia and Mega 64: Version 3. But what makes this genuine cinema and those videos not is Farley's intricate structure, placing his celebration of un-famous performers against a darker reality of literally shitty jobs and the risk of exploitation, the latter characterised by Millhouse G. shaking $20 out of Matt for the privilege of playing a show in…
"Or you'd just passed by one of those puddles in the street with gasoline rainbows in them. I mean you'd be different in some way—I can't explain what I mean. And even if I could, I'm not sure I'd feel like it." – Holden Caulfield, The Catcher in the Rye
It's a shame that MIFF's program notes have attempted to sell Lodkina's film as a piece of dark millennial quirk, calling it "the lovechild of Round the Twist and David…
Towards the end of this short, Peppermint Patty, Charlie Brown, and Marcie meet to work on their reports for an art gallery field trip. Afterwards, Charlie Brown walks Marcie home and she kisses him, saying "If you don't want that to be from me... think of it as being from Peppermint Patty". In other words this is basically a Rohmer film, and probably the most underrated Peanuts TV special.