Tim Sutton's debut feature, likened to films by Gus Van Sant and Pedro Costa, follows a laconic teenager (Max) who moves from an idyllic lakeside town to his father's home in arid suburban Arizona. With mesmerizing imagery of hot summer bike rides and cool lake-bound dives, Pavilion captures the ephemerality and reverie of youth and the fragility of adolescent friendships. A haunting score by the Sea and Cake's Sam Prekop shadows the storyline, echoing its secrets and shouldering its mysteries. (C) Factory25 … More
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Critic Reviews for Pavilion
The lack of anything resembling a narrative at times makes Pavilion feel more like a demo-reel than a movie, but the fleeting moments Sutton has captured are so vibrant that they accumulate into something that hums.
Sutton's approach is observation: We're not so much pulled into a narrative as watching images float in ethereal atmospheres.
Observant but not revealing, free-form but not quite experimental, the obliquely titled "Pavilion" is a mood piece in search of a construct.
If you're already on the movie's wavelength, it can be entrancing. If not, "Pavilion" may come off as flat and aimless.
Mr. Sutton tends toward quiet. And while his characters don't say a lot in these 70 ephemeral minutes, he says enough to make you wonder what's next.
The beauty of the footage is undeniable, and the aimlessness never overstays its welcome as the film documents that strange stretch in our lives when nothing seems to matter more than the present moment, suspended in a sort of idle immortality.
A cynical advisor told Sutton he should market his film as a documentary. That label would prepare potential viewers for Pavilion's lack of story, but it would make a lie of the movie's patient, finely drawn loveliness.
Shallow-focus photography sharpens the action and gives the seemingly banal images a sense of drama, capturing the urgency of childhood without resorting to histrionics.
George Washington this isn't, but there's enough heft here that the comparison can be tastefully made.
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