Rick Alverson’s new film Entertainment follows a comedian (Gregg Turkington) on the verge of mental collapse. On tour in California, his routine is simplistic, crude, and lame, the venues are bleak and half-empty. Alone in hotel rooms, he stares blankly at telenovelas. Every night, he leaves a voice mail for his daughter, who never calls back. Alverson intertwines pain and humor, his camera lingering for painful lengths on Turkington’s pale features. The actor turns his popular persona, Neil Hamburger, on its head: an act intended to be ironically vile and loathsome threatens to become legitimately vile and loathsome, and Entertainment evolves into a disquieting portrait of modern-day disillusionment, manifesting in emotional disconnect, misogynist rants, and isolation.
This experiment in discomfort is a continuation for Alverson, whose previous film, The Comedy (2012), starring Tim Heidecker, focused on a group of affluent, aging New York hipsters suffocating in their own riches and irony, a reversal of the mainstream feel-good blueprint that confused and angered many critics and viewers. I spoke to Alverson in Manhattan earlier this month about his thoughts on Entertainment, portrayals of masculinity in the media, and Teletubbies.
This film is very particularly constructed.
When we watch movies, we paste together these narrative threads that are completely inconsequential. I think that’s due to a restlessness in us. The first thing the mind goes to is the credibility of the narrative, and the content. A large part of what I ended up doing in the edit was thinking about what happens after that, with the viewer’s intellect. It became more and more exciting, because I’m an audience as much as anybody. We’re taught to be unaware, or think that these events are disposable or superfluous, but we’re really vulnerable when we watch media. Especially in dark rooms. Read More