Directed by:
Richard LinklaterScreenplay:
Richard LinklaterCinematography:
Lee DanielCast:
Richard Linklater, Rudy Basquez, Jean Caffeine, Teresa Taylor, Jan Hockey, Stephan Hockey, Robert Jacks, Tommy Pallotta, Athina Rachel Tsangari, Kim Krizan (more)VOD (2)
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Richard Linklater's film presents a day in the life of a subculture of marginal, eccentric, and overeducated citizens in and around the University of Texas at Austin. Shooting the film on 16mm for a mere $23,000, writer/producer/director Linklater and his close-knit crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian thought. (official distributor synopsis)
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Reviews (4)
Slacker is a well-thought-out narrative experiment that does not bind the story to a single protagonist, but rather to the overall mood of paranoia (reminiscent of Rivetto's debut, Paris nous appartient) and several leitmotifs (media manipulation of reality, mistrust of public opinion). Just as the film’s characters do not live according to standard social norms, Linklater seeks an alternative to mainstream storytelling through his chosen structure comprising a sort of narrative relay (which he starts himself). Unlike his characters, who are either sociopaths conducting bizarre rituals (cutting photos out of a yearbook, throwing away things left behind by an ex-girlfriend) and carrying on paranoid conversations about a major conspiracy, or stoned slackers discussing Smurfs and Krishna, Linklater is relatively successful in his effort to capture the postmodern zeitgeist. By combining numerous different stories (which differ in the lightness of their themes and the characters’ degree of sanity) and many different media and formats (video, Super 8, 16mm), he succeeds in expressing the unfocused perception of Generation X, whose members flit among a tremendous number of stimuli, but are unable to dedicate themselves to any one thing. The film is thus constructed as a succession of diversions from a particular topic or someone’s story. The viewer’s desire for a coherent plot is thus never fulfilled, but our attention never falters nonetheless, because we have to get acquainted with other characters over and over again. Though human characters are used in a utilitarian manner (as bearers of meanings and functions) in every story, their subordination to the narrative is accentuated in Slacker by the fact that they are used like any other narrative means, such as editing or camera movement. Instead of obscuring the narrative structure and inducing the impression of documentary immediacy, multiple perspectives and the randomness in choosing what we will see next, the formulas that we have adopted by watching films with a traditional narrative force us to be more sensitive to how Slacker unfolds. From this perspective, its main content is not a portrait of a generation, but rather the very act of storytelling with all of its fixed (cause-effect model) and variable elements (independence from the main protagonist and the main storyline). 80%
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A very peculiar comedy by Richard Linklater in which the camera is going from one character to another and narrates a bunch of stories that are unrelated to each other, yet offer their own interesting specifics and styles. Each episode renders to the viewer one, two or several slackers and their escapades around Austin, Texas. Some of the dialogues are beautifully built, while others simply delight by their quirkiness – it’s impossible to get bored. And the silent, almost grotesque conclusion is flawless! Right after the viewing, I want to watch it all over again. [KVIFF 2018]
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Richard Linklater is simply unique in the way he can tell a story. It doesn't really matter what he's saying, but the processes he finds in the medium of film are simply unique. He's incredibly innovative, and yet he's still his own man. Whether he's shooting two characters after ten years or shooting a film over several long years to capture aging, or like in this case, letting people go through and play out short scenes just because it could have happened that way, it doesn't matter. It always works when he does it and usually never gets boring.
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Slacker is a quintessential indie film of the early 90s, right up there with Kevin Smith’s Clerks. What sets the best indie filmmakers apart is an original idea, and Richard Linklater nailed it. Making a compelling movie without a traditional plot isn’t easy, but he pulled it off. He rallied his friends and acquaintances to create this low-budget gem, which has rightfully earned its cult status. It's a great example of how talent can shine through without a big budget, in this case, just $23,000 — a classic "bang for your buck" scenario. Slacker kicks off with a brilliantly sharp scene featuring Linklater himself as the talkative main character, setting the stage for the roving camera that captures snippets of life from randomly intersecting people. The film exudes that delightful indie vibe of the early 90s, similar to Clerks and Tarantino's Reservoir Dogs. It’s built entirely on meticulously crafted dialogues that seem to be about nothing but carry much deeper meanings. While it’s primarily a comedy, it blends in drama and experimental elements, especially in the second half. Slacker is a unique film that deservedly put Richard Linklater on the cinematic map. Don’t miss the credits — they feature amusingly apt names for each character, which adds a perfect finishing touch. BTW, the "Been on the Moon Since the 50’s" guy definitely deserves his own movie!
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Gallery (28)
Photo © Splendor films
![Slacker - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/164/168/164168578_7ac9b7.jpg)
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