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Eugene Kotlyarenko’s debut film 0’s & 1’s is still my favorite - and it’s heartwarming to know that it’s only been a decade after its premiere at a tiny Brooklyn theater that it’s finally getting the big screen screenings that it truly deserves. The simple story of a guy retracing his steps trying to find his lost computer - Slacker meets Dude Where’s My Car for the first generation of terminally online. But it’s the film’s relentless art direction that truly sets it apart - a multicam extravaganza framed within dozens of custom interfaces that rival both Hackers and The Net in channeling and elevating the aesthetics of the moment with painstakingly detailed easter eggs to be found on every fleeting frame. I’d also like to give a shout-out to We Are, my second favorite film by Eugene. Self-released almost a year ago, We Are is a continuation of his romantic comedies about breakups A Wonderful Cloud (2015) and Wobble Palace (2018) starring hapless losers mired in technological detritus - in this case, the employee of a pathetic virtual reality arcade. But unlike its predecessors We Are is Eugene’s most casual film to date, made with a whimsical looseness echoed in the character Stick’s XL tourist t-shirts and the soft soothing pace of his fidget spinner. It’s a funny movie, but it’s also sad… when Eugene breaks the 4th wall and slates a scene with Dasha, there is a self-accepting effortlessness that really feels like letting go. We Are is just a movie and that’s all it needs to be.
Dec 21, 2021
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brilliant. beautiful and funny and heartwrenching and silly and all around fantastic. the more i think about this movie the more i love it. tells an unconventional tale of self-confidence, self-sabotage, regret and jealousy, etc etc the ending was a bit silly but i can look past it lol. what a fantastic cast and fantastic production. they frame things throughout as if it were to look like a stage production only for that to be the eventual main plot point. one of my favorite scenes (if not films) of the year
Oct 6, 2024
one of my favorite movies. at 16 years old, watching it feels nostalgic in itself, but the picture it paints of the era in which it takes place is also nostalgic.
it’s a more real, defined, engulfing world than any i’ve ever experienced through film, and even though i know what happens, i feel the things the characters feel as they feel them. when vr allows us to live in a movie, theme park ride style, “Adventureland Summer” will be my first stop. this thing is dripping with nostalgic heartache to the tunes of the replacements and lou reed, every performance is great / super funny / heartbreaking in it’s own way.
as i’m typing this, i think i believe this is the best film ever made? that can’t be true, probably, but idk watch it you’ll love it and feel a lot.
May 13, 2025
Really fascinating, weird, dark, while also being incredibly funny and charming. unlike anything I’ve seen before & cool soundtrack. Can be incapsulated by this letterboxd review:
Oct 4, 2024
Top Recs from @asher-penn
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From what I can tell, artist Jeffrey Scudder is the only post-internet artist to figure out Tik-Tok, with his Whistelgraph project recently hitting 2 Million followers. Whistlegraphs are tiny songs that are performed through drawing, where the sonic and visual gestures synch up poetically - kind of like a haiku that you animate in real-time - that for the past two years have been performed in videos by Scudder alongside artists Camille Klein and Alex Freundlich. Pioneers in their own experimental artform, Whistlegraph seems to be channeling a lot of things at the same time - If I were to free-associate I’d say it feels spiritually connected to Brendan Fowler and Odwalla88 and Tori Kudo, but also Josh Smith and David O’Reilly and Susan Cianciolo - not that any of their devoted fans would know or care about that stuff. Their audience is predominantly between the ages of 8-17, and the most comprehensive interview with Whistlegraph to date was done by a 13-year-old superfan named Perry. Watching Perry perform “Butterfly Cosplayer” with glee makes me wonder if the current iteration of Whistlegraph is just the beginning and that the most exciting manifestations of this art form will be found in generations to come.
Dec 21, 2021
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When I was in art school I studied photo and found it really frustrating that the most successful photographers had all chosen a camera for themselves that they worked with almost all the time: for Ryan McGinley & Terry Richardson it was the Yashika T4, for Juergen Teller it was the Contax G2, Wolfgang Tillmans used a Leica with a 35mm lens. Something about this felt disingenuous and try as I might I could never find my version of that thing. It hasn’t been since I abandoned and rediscovered photography that I found that my first point-and-shoot digital camera - the 2005 Canon Powershot G7 - is mine. I adore this freaking thing and shoot all my portraits with it. You can get them usually for $50 on eBay, the flash is powerful, and it has a fantastic zoom. There’s also a really nice video feature that can handle low light and somehow translates colors in a way that feels “straight from the tube” - I’ve already shot a short film on it and want to make more videos with it soon.
Dec 21, 2021
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Nymphet Alumni are a podcast devoted to analyzing the niche mainstream - cultural touchstones that didn’t necessarily die but instead morphed, rebranded, and shapeshifted into obsolescence, alongside contemporary trends that are almost too pervasive to identify. Sometimes these are brands (American Apparel, Oh Mighty), or platforms (Rookie, Tumblr), or social phenomena (Tik Tok Physiognomy, Nepotism Babies). Just because these subjects are massive in scale doesn’t make them easy to talk about, as the topics are so recent and fleeting that to subject them to thoughtful critical analysis feels too early or too late or just plain pointless- and maybe that’s the point. Listening to Alexi, Biz, and Sam’s compassionate and highly personal insights it’s clear that the ephemeral doesn’t arrive from - or exit into - the void.
Dec 21, 2021