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Tallie Medel (left) and Norma Kuhling (right) as friends since middle school who live in Brooklyn |
Very different in genre, mise-en-scène and approach to narrative, both films deal with emotional turmoil, in friendship and love, very effectively conveyed by tight screenplays and assured direction. From the opening sequences – all dialogue, no action, long takes, stationary camera - Fourteen feels like a French film by Rohmer and Pialat, spoken in English and set in Brooklyn. (It's an eerie feeling). Unhurriedly, it comes into focus as the record of a friendship since middle school and over a decade between two girls from affluent Westchester county, New York, who struggle in the city as young adults – the stuff of mumblecore films and cable series like Girls, made by directors a generation younger than Dan Sallitt. What is gripping is that the various dramatic peaks of these lives are off screen, alluded to or cleverly explained by the indirect mean of a bedtime story.
Writer, director, producer and editor Dan Sallitt at the Delphi Palast, Berlin |
Like Pavel Pawlikowski’s Cold War, the passage of time is not marked by visual flourishes or explicitly telegraphed to the viewers through dialogue. Fourteen requires full attention because these two friends – one sensible (Tallie Medel), the other high strung (Norma Kuhling) – are chiseled with the care a goldsmith gives to intricate details. You blink and you miss them. Sallitt, who wrote, directed, produced and edited the film over 18 months, makes the point eloquently with the almost four-minute high angle long shot above a suburban train station where seemingly nothing happens. The long take functions to make the viewer take stock of where the story is at – not to enhance its upheavals as in the recent Roma. Fourteen places itself in the opposite spectrum of melodrama, and by eschewing almost all context and backstory, except for two dramatic peaks, creates a space where the nature of this friendship, human and universal, can be savored, understood and mourned. The Delphi Palast, where the last screening took place, was full – all 800 seats taken - but you could hear a pin drop. Dan Sallitt came for a lovely Q&A with the audience of mostly young Berliner. I approached him at the end and introduced myself as a fellow UCLA graduate. He remembered my husband Jonathan Kuntz, his fellow mate, fondly, and he graciously posed for a photo with me.

Photograph will be streamed by Amazon Prime soon, and Fourteen is looking for distribution.
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