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The Green Fog is an experimental film directed by Guy Maddin, Evan Johnson and Galen Johnson, that loosely revisits the plot of Alfred Hitchcock's movie Vertigo through a collage of found footage repurposed from old movies and television shows set in San Francisco.[1] The film was commissioned by the San Francisco Film Society for the 60th San Francisco International Film Festival’s and premiered at the festival's close on April 16, 2017.[1] It then entered limited release on January 5, 2018 and began to tour international festivals.[2] The film features an original score by composer Jacob Garchik and Kronos Quartet.[3]

The Green Fog
Directed byGuy Maddin
Evan Johnson
Galen Johnson
Edited byEvan Johnson
Galen Johnson
Production
company
Development Ltd.
Distributed byBalcony Booking (USA)
Release date
  • April 16, 2017 (2017-04-16) (San Francisco International Film Festival)
Running time
63 min
CountryCanada/USA
LanguageEnglish

Festivals


The Green Fog was selected to screen at the following film festivals:[4]


Awards


The Green Fog was nominated for the C.I.C.A.E. Award at the Berlin International Film Festival in 2018, and has won the following awards:[4]


Critical reception


The film received overwhelmingly positive reviews, with review aggregator Rotten Tomatoes reporting a 95% approval score from critics based on 22 reviews.[7] Metacritic, which assigns a weighted average score out of 100 to reviews from film critics, posts a rating score of 78 based on 10 reviews.[8]

While the film has not received any negative reviews, New York Times critic Ben Kenigsberg, noted Maddin's "slight arrogance in presuming that one of the greatest films of all time [Hitchcock's Vertigo ...] could be approximated, even a little, using clips from lesser directors" but also notes that "if trying to recreate a lost object of obsession from the materials at hand was Hitchcock’s subject, then he couldn’t ask for a more fitting tribute" and calls the movie " a marvel of film scholarship."[9]

Ty Burr, writing for the Boston Globe, called the film "eerie, witty, and unexpectedly moving" and compared it to Christian Marclay's installation film The Clock.[10] Critics also noted that, in addition to serving as a tribute to Hitchcock's Vertigo and a method of deconstructing its own self-critical aspects (which Maddin has discussed in interviews),[11] the film pays homage to the city of San Francisco and its stature in film history, serving as "a scrambled history of San Francisco told through moving pictures."[12]


References







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