Private Project

The Brother Side of the Wake

The Brother Side of the Wake (aka BroSide) ​is an engaging experimental feature exploring filmmaking with Venice, California as the main character. The movie is written by the movie itself. The characters are the media themselves. Gerry Fialka and Bruno Kohfield-Galeano celebrate how both empathy and storytelling shape behavior. Persons-on-the-street-interviews (vox populi) on the Venice Boardwalk probe the question that Orson Welles explores in The Other Side of the Wind: "Is the journey more important than the destination?"

By evoking the comedies of The Little Rascals and the essays of Chris Marker, BroSide conjures the playful and psychic effects of direct cinema, abstract animation, and films within films. BroSide empowers the audience to have fun. It inspires new questions.

BroSide was made in various formats including 16mm, Super 8mm, Pixelvision (Fisher-Price PXL-2000 toy camcorder), digital video, cell phones and hand-painted celluloid. The imaginative soundtrack merges binaural beats, and Vaporwave into magical music-scapes. Bruno Kohfield-Galeano's stroboscopic cinematography and hypnotic editing propels the viewer onto an immersive magic carpet ride.

  • Gerry Fialka
  • Benshi They
  • Bruno Kohfield-Galeano
  • Jay Paulson
    Key Cast
    "Peter Bog"
  • Jeff Michalski
    Key Cast
    "Gerold McBroBro "
  • Lionell Powell
    Key Cast
  • Mark Christensen
    Key Cast
  • Project Type:
    Documentary, Experimental
  • Genres:
    Comedy, experimental, documentary, remake
  • Runtime:
    1 hour 20 minutes 13 seconds
  • Completion Date:
    July 17, 2021
  • Production Budget:
    3,818 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Director Biography - Gerry Fialka

Artist and paramedia ecologist lectures world-wide on experimental film, including many times at the Ann Arbor Film Festival, whose director, Leslie Raymond says he is: "deeply dedicated to the exploration of new knowledge." His PXL THIS Film Festival celebrates electronic folk art since 1990. His writings have been published in Canyon Cinema, OtherZine, CineSource, and the book: Strange Questions: Experimental Film as Conversation. He hosts the Marshall McLuhan-Finnegans Wake Reading Club (established 1995). He has curated film screenings in LA since 1980 for Documental, 7 Dudley Cinema, and Subversive Cinema, earning praise: "Fialka is Los Angeles' preeminent underground film curator." - Robin Menken, "Fialka is a meteor shower in the contemporary media arts discourse. He's blowing my mind." -- Craig Baldwin

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Director Statement

The inspiration of The Brother Side of the Wake (aka BroSide) remains people's irreducible "all-aroundness" and "insideness." As D.H. Lawrence wrote in admiration of Cezanne's paintings, "It's the appleyness, which carries with it the feeling of knowing the other side as well, the side you don't see. . . The eye sees only fronts, and the mind, on the whole is satisfied with fronts. But intuition needs all-aroundness, and instincts needs insideness. The true imagination is forever curving round to the other side, the back of presented appearances."

Fialka & Kohfield-Galeano probe all-at-onceness via the motives and consequences of "other" cinema in the 4 feature film series entitled "Fuse Family For Four" (aka FF44): The Brother Side of the Wake, and the upcoming - The Mother Side of the Wake, The Sister Side of the Wake, and The Father Side of the Wake, evoke the aedificium (from The Name of the Rose by Umberto Eco), and hoick up 4 towers at 4 cardinal points. This fourness continues

"I should prefer to de-fuse this gigantic human bomb by starting a dialogue on the side-lines to distract the trigger-men, or to needle the somnambulists." - Marshall McLuhan, whose Mennipean satirized translation of FINNEGANS WAKE by James Joyce inspired BroSide. Delve deep into the hidden psychic effects of the philosophy that the journey is more important than the destination. What are the motives and consequences of Chris Marker's probing of the inability to escape time? Why even make a film when you can just live life as if it is a film? As it lives in your imagination?

Gregor Sleleus, the featured player in BroSide and Lower Lithuanian playwright, wrote: "Since our eyeballs are facing the screen, we are impelled to watch whatever is projected thereon, unless we are compelled to put on the brakes of our consciousness by averting our heads towards something even more compelling like, for instance, lunch.” Broside visualizes nothing simply by closing the storybored and rubbing the moldy metaphor. Can YOU remember to forget to die?