The technological advancements in film have been highly debated over time. Are they used as a crutch that zaps away the creative potential of filmmakers? Or are they useful tools that can expand and reshape our notion of what can be done in the medium?
I’ve often found myself arguing the former; advocating for filmmaking that rejects many of the modern technologies available to filmmakers. Perpetuating this (sometimes misguided) notion of a “purer” approach to moviemaking. However, every now and then a film will come along that reminds me of how silly my rigidity can be.
The Misconceived, a new movie from filmmaker James N. Kienitz Wilkins, is one of those movies. The film’s presentation is extremely fascinating. The whole thing was made within a video game engine. Although jarring at first, you quickly settle in and allow the movie to take you on its unique oddball journey.
The script, co-written by Wilkins and Robin Schavoir, reads like your classic mumblecore flick. Conversations about art, life, and love fill the scenes throughout the movie’s runtime. The lines of dialogue are somewhat familiar. The characters and their predicaments are ones we’ve come across before. But instead of seeing them play out in the same familiar indie flick ways that we’re used to, The Misconceived offers a wholly new way to experience its story.
Utilizing motion capture and voiceover acting, the world of The Misconceived is part facsimile, part uncanny mirror, and part expressive representation of our real world. Some characters look like realistic humans, while others appear as caricatures of humanlike figures. They all seamlessly coexist in this story about relationships, second chances, and the frustrations of life’s most mundane moments.
We’re thrust into our narrative as our protagonist, Tyler (motion captured by Emily Davis; voiced by John Magary), takes a construction job at what we shortly find out is the vacation house of his former college roommate and old buddy, Tobin (motion captured by Shavoir; voiced by Jesse Wakeman). Tyler is somewhere between a failed and former filmmaker, now taking on handy work to provide for his young son as a single father.
Throughout the duration of the work on Tobin’s house, the two men discuss what they’ve been up to since their last encounter. Tobin has become a successful sculptor and visual artist, and is trying to start a family with his wife Gwen as they finish up their vacation home. Tyler has become disillusioned with the world of filmmaking, no longer able to find the time or motivation to develop his various script ideas.
Tobin offers what can be seen as encouragement for Tyler to get back to his artistic ways. In one particularly funny scene, Tobin references everyone from Soderberg to the Safdie brothers to Aronofsky as motivation for Tyler’s independent filmmaking endeavors. He even throws in a funny French pronunciation of Ricard Brody’s name. It’s a perfect encapsulation of what makes the movie work. The scene simultaneously has a heightened sense of silliness and is sincerely grounded.
The script is very talky, and everything takes place in a single location. There’s no reason why this shouldn’t have been shot and constructed like any other indie flick. But existing within a video game engine causes everything to move in a slightly more expressive manner.
Which has always been the point of film. We don’t need something that fully reflects our lived experiences. We have everyday life for that. The artform can present in ways that life can’t but still communicate something familiar to us all.
By playing with that notion, The Misconceived retains its ability to be thoughtful, emotional, and humorous. Some moments are more bizarre than others – including a third-act dinner party featuring the most eclectic collection of characters imaginable. Yet, despite being made in a virtual world, The Misconceived is a very REAL movie. The technology involved allows it to stand out from its contemporaries.
It’s a win for cinema that a movie like this exists. We should hope to see more movies that embrace exploring new avenues for what’s possible while capitalizing on what’s familiar. I’ll be sure to change my own tune about technology in film and look to more movies like The Misconceived for fresh, fun cinematic experiences.
