by Alireza Hatamvand
Worth: $17.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Julian Castronovo, Philippa James, Song Hui
Intro:
… one can actually turn off the analytical part of the brain and simply watch the entire film only with their eyes.
Debut, or, Objects of the Field of Debris as Currently Catalogued is a documentary-like fiction about a young filmmaker (played by the director Julian Castronovo), who by chance, stumbles into the mystery of a vanished art forger and attempts to uncover the secret of this disappearance using the few available clues.
If one can assign a genre to this film at all, we are dealing with a mystery crime film. This genre has its fervent fans and is filled with suspense and thrills. Julian, well aware of the genre’s characteristics and audience tastes, leads the viewer to believe that they are watching a true crime documentary — not through a real documentary, but through a calculated pretense of one (a form of mockumentary).
Julian’s other bold and unusual decision is to merge the inherently popular crime genre with the most obscure form of cinema: the experimental. This undoubtedly narrows the film’s audience spectrum considerably, but those who still fall within it, will find plenty to praise.
Viewers interested in modern and postmodern art, in particular, will relish the film’s experimental aspects: chaotic webcam footage of Julian himself, the use of archival images, the prominent motif of photos of objects related to the “Subject,” various types of animation, stop-motion, and even the depiction of computer games. These elements make the film so visually engaging that one can actually turn off the analytical part of the brain and simply watch the entire film only with their eyes.
Returning to the crime genre, Julian certainly understands it well and even in this avant-garde film, there are moments that take the audience’s breath away. He skillfully incorporates suspense and tension in these moments, simultaneously adopting a kind of Tarantino-esque postmodern stance and subtly satirizing films within this genre.
In addition to all this, Julian does not overlook the theme. Throughout his long journey, he draws us toward art, particularly the issue of authenticity in art, raising fundamental questions and submerging us poetically and imaginatively in these inquiries and the thoughts that they spark.
Another highly commendable aspect of the film is that it is micro-budget, handmade and independent. The fact that such a film can move and even entertain audiences is truly laudable. This spirit and motivation are what filmmakers and cinema itself need right now.
Julian has chosen a completely unique path. It is unclear what his next move will be. He may remain in this field or gravitate toward a more mainstream cinematic form, but without doubt borrowing from his avant-garde repertoire. Regardless, this creative and solid debut promises a bright future, and we will eagerly await his next work.
