Pincus, 2012.
Written and Directed by David Fenster.
Starring Paul Fenster, Dietmar Franusch, Christi Idavoy and David Norstrom.
![Pincus movie poster]( "Pincus movie poster")
SYNOPSIS:
A story centered on a young guy who ineptly runs the family construction business by day and begrudgingly acts as caretaker for his father by night.
![Pincus]( "Pincus")
David Fenster’s Pincus is happy to be rough around the edges. It tries hard to be difficult, aesthetically unappetising on basic digital, with characters determined to be completely unlikeable (Pincus Finster (David Nordstrom) is an obnoxious buffoon with no patience for his Parkinson’s-afflicted father Paul (Paul Fenster), while his hippy-dippy crush Anna (Christi Idavoy) is infuriatingly patronising). The film’s plot is also barely existant, as thin as a 20-minute sitcom but extended to 78 minutes, where the lead crushes on a yoga instructor and gets baked with his aged stoner pal Dietmar (Dietmar Franusch).
It’s also quietly creepy, the generic comedy trappings underpinned by a droning score that feels off from the start. It’s reminiscent of Ben Wheatley’s world, as dark, naturalistic humour is laden with dread, creepy happenings transforming Pincus occasionally into something approaching horror. As Dietmar disappears without explanation, Pincus utilises mystics and spiritualism at the behest of Anna (only to get in her pants, mind) to seek out his friend. Though Pincus the character is dismissive of Anna’s practices, the film seems to believe there are dark powers at work. It almost seems like the film is toying with its lead, who remains baffled by his father’s illness and unsettled by his friend’s disappearance.
Though David Nordstrom has a charmless screen presence, it’s director Fenster’s approach to mysticism and mystery which keeps Pincus rolling. Pincus is not an especially enjoyable film, but you suspect that’s Fenster’s intention. It draws to a close on an unnerving final scene, after answering none of the questions it poses through its running time. Nothing really gets settled, not Paul’s Parkinson’s, not Pincus and Anna’s relationship, not the result of Pincus running the family construction business into the ground. But the picture gets into your head and stays there, if the basic production values do little to satisfy during your watch.
Flickering Myth Rating - Film: ★ ★ ★ / Movie: ★ ★
Brogan Morris - Lover of film, writer of words, pretentious beyond belief. Thinks Scorsese and Kubrick are the kings of cinema, but PT Anderson and David Fincher are the young princes. Follow Brogan on Twitter if you can take shameless self-promotion.
Written and Directed by David Fenster.
Starring Paul Fenster, Dietmar Franusch, Christi Idavoy and David Norstrom.
SYNOPSIS:
A story centered on a young guy who ineptly runs the family construction business by day and begrudgingly acts as caretaker for his father by night.
David Fenster’s Pincus is happy to be rough around the edges. It tries hard to be difficult, aesthetically unappetising on basic digital, with characters determined to be completely unlikeable (Pincus Finster (David Nordstrom) is an obnoxious buffoon with no patience for his Parkinson’s-afflicted father Paul (Paul Fenster), while his hippy-dippy crush Anna (Christi Idavoy) is infuriatingly patronising). The film’s plot is also barely existant, as thin as a 20-minute sitcom but extended to 78 minutes, where the lead crushes on a yoga instructor and gets baked with his aged stoner pal Dietmar (Dietmar Franusch).
It’s also quietly creepy, the generic comedy trappings underpinned by a droning score that feels off from the start. It’s reminiscent of Ben Wheatley’s world, as dark, naturalistic humour is laden with dread, creepy happenings transforming Pincus occasionally into something approaching horror. As Dietmar disappears without explanation, Pincus utilises mystics and spiritualism at the behest of Anna (only to get in her pants, mind) to seek out his friend. Though Pincus the character is dismissive of Anna’s practices, the film seems to believe there are dark powers at work. It almost seems like the film is toying with its lead, who remains baffled by his father’s illness and unsettled by his friend’s disappearance.
Though David Nordstrom has a charmless screen presence, it’s director Fenster’s approach to mysticism and mystery which keeps Pincus rolling. Pincus is not an especially enjoyable film, but you suspect that’s Fenster’s intention. It draws to a close on an unnerving final scene, after answering none of the questions it poses through its running time. Nothing really gets settled, not Paul’s Parkinson’s, not Pincus and Anna’s relationship, not the result of Pincus running the family construction business into the ground. But the picture gets into your head and stays there, if the basic production values do little to satisfy during your watch.
Flickering Myth Rating - Film: ★ ★ ★ / Movie: ★ ★
Brogan Morris - Lover of film, writer of words, pretentious beyond belief. Thinks Scorsese and Kubrick are the kings of cinema, but PT Anderson and David Fincher are the young princes. Follow Brogan on Twitter if you can take shameless self-promotion.