Bill White of the Seattle PostGlobe says it might be so:
We may at last be seeing the birth of a new art form, one that is far from the combination of theatre, music, and photography that has been passing for cinema for over a century now. The new film-makers often work without scripts, without actors, without photographic skill, and certainly without the ability to underscore their found images with fitting music. And from this point of nothing, some are creating a new cinematic language based on their own ways of seeing and living the world.
Two films screening at the Northwest Film Forum this week make a strong case for the value of the work being done by these drama-provoked camera bugs. The first, “Bass Ackwards,” is the work of Linus Phillips, whose idea of lighting a scene is to turn on the overhead switch, but who, in 100 minutes, shows more understanding of and sensitivity to the flesh and blood reality of daily life in today’s America than last year’s graduating class of the television academy of the plastic arts will ever come close to in the coming fifty years of their fast-tracked careers. The second, Nick Peterson’s “Field Guide to November Days,” favors composition over content and style over humanity. It is a true breakthrough in a new aesthetics that has its roots in the architectural language of Michelangelo Antonioni.