Experiencing Interruptions?

Soulfulness

Shooting in the manner of cinema verité, individuals from the art and working class worlds express deep emotions and debate strongly held opinions about art, gender, and other ponderously human topics with a montage of scenes from nature, music performance and pedestrian traffic.

  • Mitchell Rosenzweig
    Director
  • Project Type:
    Documentary, Experimental, Short
  • Runtime:
    13 minutes 40 seconds
  • Completion Date:
    May 18, 2016
  • Production Budget:
    2,500 USD
  • Country of Origin:
    United States
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Mitchell Rosenzweig

Mitchell Rosenzweig
Documentary Films:
The Golden Calf
An examination of the lives of three local artists. The documentary focuses on their struggles to survive financially and psychologically in an occupation that offers few social rewards (with James Tucker; 1994, 33 minutes).
The Budget Cut
In this New England town, the barbershop represents a meeting place to discuss local right wing politics, religion, and gossip. In other words, The Budget Cut is the combination of both new world and old ideas. (1995, 15 Minutes)
Under Bright Light
A chronicle of the 1995 National Golden Gloves boxing tournament in Lowell, Massachusetts. Special attention is given to social backgrounds of the participants (with James Tucker; 1996, 30 minutes).
Nu Knees
This film reveals the humor in, and gritty reality of door-to-door religious recruiting, set against the backdrop of a wintry suburban landscape Downeast.(1996, 45 minutes)
Et Cetera
Shot in a Cinema Verite style, the players social behavior is placed in question to the viewer, as each different character is seen reacting to each other during this lengthy competition. (1997, 15 minutes)
Disillusion
This short film examines the life of three individuals (Ed , Shayne, and Jacob) by exploring the deep expressed emotions of their lost love predicaments. (1999, 15 minutes)
Crooked Walls"Crooked Walls"
E xplores the changing artistic landscape against the backdrop of Sante Fe, New Mexico. Once a city where artists could live simply and create work that responded to their deepest passions, Santa Fe is now crowding out these artists in favor of artists who seem to respond only to the market.
Subway Film
Shot in the New York City Subway, the dichotomy between the
musicians and pedestrians who pay little attention to their presence. Shot
in black and white in a creative, montage-like fashion, we see and hear the
artists music and visual content of the subway. (2008, 13 minutes) re-edited
False Summits
This film is the female version of" Disilusion"where five women exploring the deep expressed emotions of their lost love predicaments, the sexual aspects of their relationships, and their future indevors.
iNew Mexico. (2009, 13 minutes)

Film Festivals:
Subway Film. Newburyport Film Festival ,Newburyport MA, 2006
Subway Film. Artstream Film Festival, Rochester N.H., 2005
Crooked Walls. Santa Fe Film Festival, Santa Fe New Mexico, 2003
Nu Knees: Palm Beach Institute of Contemporary Art, Worth Lake, Fl, 2002
Disillusion: Cocolus Film and Video Festival, Wilmington, N.C., 1999
Et Cetera: Metropolitan Film and Video Festival, Detroit MI, 1998
Under Bright Light: Davis Film and Video Festival; Davis California, 1997
Nu Knees: Tusculum Video and Film Festival, Tusclum, Tenn, 1997
Nu Knees: Troubador: Film and Video Festival; San Francisco, CA, 1997
Nu Knees: N.H. First Film and Video Festival; Concord, N.H., 199
Grants: Oct. 1998 New Hampshire State Council on the Arts
( Individual Artists Fellowship)
Awards: November 2005 Audience Award: Subway Film
Artstream FIlm Festival, State Council on the Arts, Rochester, N.H.
January 1997 Highest Honors: Nu Knees
New Hampshire Film Festival, Concord, N.H.

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Director Statement

My films deal with the prosaic details of the lives of ordinary individuals. The films are structured into various layers of visual meaning. One layer pertains to substance, asking questions such as, what does it mean to be a boxer, a chess player, or an artist. A second layer often grapples with gender and cultural expectations. A third layer can deal further in depth, exploring the irony of perception. It is here that viewers are often reminded with a gentle eye that though these people may talk big, they live small.