+ otherwise pictures llc

… surrealistic reverie of pictures kissed with irony, unreels in dream time

… surrealistic reverie of pictures kissed with irony, unreels in dream time


Holly Fisher’s BULLETS FOR BREAKFAST weaves disparate elements together in an often spellbinding abstract film.

It is, essentially, a meditation that considers two opposing cultural phenomena. On one hand, you have male figures being inserted into a faux history of the male figures being inserted into a faux history of the macho Western. On the other you have actual women being excised from their rightful place in our historical record.

The ideas and their interrelationship are hardly new. In fact, they’ve almost been talked to death. However, the active word above is meditation, and that makes all the difference.

BULLETS FOR BREAKFAST doesn’t traffic in polemics and defiantly remains less interested in scoring points that it is in marveling at our state of affairs. The movie’s style, a surrealistic reverie of pictures kissed with irony, unreels in dream time.

The experimental design of the movie works splendidly. …the director makes canny decisions throughout her movie…

She culls her imagery from art books of classical works and modern media footage from television and the movies (“My Darling Clementine” in Particular). The pictures are manipulated and recombined through various print processes. Employing superimposition stacked like transparent tiles and blessed with a dazzling eye for color, Fisher delivers a movie that can be downright ravishing.

BULLETS FOR BREAKFAST possesses an admirable balance between progression and reassertion of critical pictures.

Wisely, Fisher avoids the pitfall of paralyzing an audience’s sensibility by adding a soundtrack that carries a slender, but effective, narrative quality. Fisher constructs the soundtrack like an aural montage. An interview with pulp Western writer Ryerson Johnson occupies one thread, poet Nancy Nielson another, the conversation of women in a smoked-herring plant is the third dominant element.

BULLETS FOR BREAKFAST cuts gracefully back and forth among these narratives, Johnson talks about writing for pulp magazines, Nielson reads poetry, the factory workers chatter about professional wrestling and television shows.

…the interaction of picture and sound offers a vibrant, almost musical, interplay. Nielson and Johnson hold center stage. One’s a poet, the other a writer for hire, and as the film advances we discover something surprising. They have more in common than one might expect. The artist has an interest in relating to the average person, while the hack writer ponder the wider concerns of responsible fiction. … Fisher, a former documentary director, comes up with one of the most arresting experimental films in several years.


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