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TeslaGuy · 2013.01.18, 05:33 PM

Sold out, anyway. And yes, seriously intense. But only because it attempts to be true to the reality it recreates.

Some of the pre-premiere buzz in the news...

When choosing films to present in New Frontier, curator Shari Frilot said that "Charlie Victor Romeo" (the phonetic alphabet translation for "cockpit voice recorder") stood out from other filmed plays because its harrowing performances were all the more vivid thanks to the close proximity afforded by the 3D technology. "They translated that energy of live theater in a way that may well open up new points of access to live performance," said Ms. Frilot, who described her first viewing as mesmerizing. "It was experiential, and that's when I knew I was watching something special."

Finally, Groth encourages festival goers not to overlook the New Frontier installations and films at The Yard on Kearns Boulevard.
"'Charlie, Victor, Romeo' is one of the most unique cinematic experiences I've had in a while," he said. The film is based on an off-Broadway production comprised of recreated black-box recordings of pilots handling a crisis in the cockpit. "It is a riveting watch, at times harrowing. The takeaway for me was respect for those pilots. No one should have that kind of pressure on them. I think there will be a lot of talk about it at the festival."

If France's master post-structuralist filmmakers Jean-Marie Straub and Danièle Huillet had directed Flight, it might look something like this utterly unclassifiable whatsit screening in Sundance's New Frontier section (devoted to works of the avant-garde). Originally produced onstage by New York's Collective:Unconscious theater group, Charlie Victor Romeo consists of six dramatizations of real-life airline emergencies, performed on a spartan set by a small rep company of actors, using transcripts of the actual "black box" cockpit voice-recorder transmissions as the script. Now, CVR is a movie, albeit one shot—in 3-D, no less—during several live performances in front of an audience, the theatrical lighting and set design adding an eerie, disembodied feel to the harrowing struggle between man and machine transpiring before us. (The pièce de résistance: a beat-by-agonizing-beat reenactment of the United Airlines DC-10 that crashed into a Sioux City, Iowa, cornfield in 1989 after losing one of its engines.) For 80 minutes, the movie keeps you in something like suspended animation, waiting to exhale. All told, CVR might be more than some (most?) viewers can bear, but this much is for sure: You've never seen anything like it.

2013.01.18, 05:33 PM	#496
TeslaGuy apathy enthusiast Join Date: May 2008 Posts: 2,307	Sold out, anyway. And yes, seriously intense. But only because it attempts to be true to the reality it recreates. Some of the pre-premiere buzz in the news... When choosing films to present in New Frontier, curator Shari Frilot said that "Charlie Victor Romeo" (the phonetic alphabet translation for "cockpit voice recorder") stood out from other filmed plays because its harrowing performances were all the more vivid thanks to the close proximity afforded by the 3D technology. "They translated that energy of live theater in a way that may well open up new points of access to live performance," said Ms. Frilot, who described her first viewing as mesmerizing. "It was experiential, and that's when I knew I was watching something special." Finally, Groth encourages festival goers not to overlook the New Frontier installations and films at The Yard on Kearns Boulevard. "'Charlie, Victor, Romeo' is one of the most unique cinematic experiences I've had in a while," he said. The film is based on an off-Broadway production comprised of recreated black-box recordings of pilots handling a crisis in the cockpit. "It is a riveting watch, at times harrowing. The takeaway for me was respect for those pilots. No one should have that kind of pressure on them. I think there will be a lot of talk about it at the festival." If France's master post-structuralist filmmakers Jean-Marie Straub and Danièle Huillet had directed Flight, it might look something like this utterly unclassifiable whatsit screening in Sundance's New Frontier section (devoted to works of the avant-garde). Originally produced onstage by New York's Collective:Unconscious theater group, Charlie Victor Romeo consists of six dramatizations of real-life airline emergencies, performed on a spartan set by a small rep company of actors, using transcripts of the actual "black box" cockpit voice-recorder transmissions as the script. Now, CVR is a movie, albeit one shot—in 3-D, no less—during several live performances in front of an audience, the theatrical lighting and set design adding an eerie, disembodied feel to the harrowing struggle between man and machine transpiring before us. (The pièce de résistance: a beat-by-agonizing-beat reenactment of the United Airlines DC-10 that crashed into a Sioux City, Iowa, cornfield in 1989 after losing one of its engines.) For 80 minutes, the movie keeps you in something like suspended animation, waiting to exhale. All told, CVR might be more than some (most?) viewers can bear, but this much is for sure: You've never seen anything like it. Last edited by TeslaGuy : 2013.01.18 at 06:46 PM.