Sam’s World
Sam’s World
Sam’s World: The first one belongs to the linear category since events occurring on screen are due to the cause and effect relationships in Sam’s World. Such cause-effect splits across characters’ psychological forces, so only kinetic energy enough to jump the gap is harnessed. In the latter, the character determines the pace of time in terms of feelings, thoughts and moods as it possesses potential energy which wants to go back and change the events of the past to make sense of the present or the future. Rhythm is again at play in both cases. The only difference is in rhythm and where the metronome is located.
The metronome in question is embedded in them in “Sam’s World,” Lidia Lady’s first featurette. The focus of the film is on Sam (Lady) in his mid twenties non-binary sex-worker who is attempting to conflict various types of creative and writerly people on the edges of society’s best description of heterosexual for a period of about 24 pathetic hours. They live with Rex, Sam’s partner and a photographer editor who seems to be in physical danger as a result of Sam’s strange admiration. They are, to say the least, restless: Sam is unexpectedly pregnant and rex is rapidly doung into the world of more traditionally corporative ambitions that begin reproducing difference from sam’s interests in the areas of work.
Needless to say, anxiety about what the audience thinks is simply hiding deeper psychological weaknesses; when Sam and Rex meet one of Sam’s much-older clients at the park, tensions rise: “It’s not something that I want to have to think of you and being with someone else.” Actually, from the very first episode of their relationship after which Rex tells Sam that he has taken a job at a café just across ‘the street’ it is clear that Rex will be present in the relationship as a good deal more than the subject of aggression. And it is not so much about Rex being overlooked but rather she – in her dysfunctional over helping attempt to reach out touch is regarded in a way that diminishes the partnership between the two. Sam’s leisure time spent with Rex appears to be the most entertaining for Sam when he is either belittling Rex’s emotional states or Rex is trying to pacify a chaotic Sam.
One of the main issues of fetishizing sex work is the distance and protection that the creators have. However, in Sam’s World, there is a fair representation of the trade, including all of the drawbacks, so he does not exploit it. In their scenes in the park, it is neither Sam nor their client who appears to be taking advantage of the other; rather, there is courtesy between them, just as there is between people in a cooperative arrangement, knowing the potential risks and rewards involved.
As per interviews, it is clear that Sam’s World is Lady’s debut Film and it looks like one as weaknesses like colour grading come to the fore; there is too much focus on lengthy dialogues that are repetitive and make an already short film look even shorter; and Lady has the fortune of sharing dazed lines with actors with an equally lack of experience in mediate space. Lack of professionalism aside, there are such stretches when Sam is by himself, where they come so close to being transcendent that it is almost incomprehensible. These abstract scenes blend what can be termed the mundane “Brooklyn New Wave” style of the film with so much emotion as merit enduring it all. Sam’s World also showcases Lady’s remarkable ability to compose extraneous sound (in particular when she is daydreaming while lying in the bath and her nails plough her belly), an aspect of directing probably neglected but in this case could have been advantageous owing to Lady’s lack of any formal training or experience.
Within the scope of Deleuzian philosophy, Lady operates most efficiently in the time-image, and so it is not surprising that it is those scenes which Michael Woman more brutally and more passionately becomes. The rest of them — more interested in sam’s habitat — begin to grit with the emotional fabric of the film and already feel monotonous after the completion of the hour-long documentary dedicated to her. After such a practice, it is quite logical to expect that the Lady creative team does film rather than literature. This hopefully will be the case in their future work as well. They also have a good sense of aesthetic placed camera.
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- Genre: Drama
- Country: United States
- Director: Lily Lady
- Cast: Lily Lady, Annie Conolly, Aje Brown
