Our Song

Jim McKay has made one of the best films you will see all year.The quiet simplicity of this film draws you in from the opening shot and never lets go.There is not one false note in the entire film.Not one.Everything works.The hand-held camera is never distracting and always where it should be.The three young ladies whose lives we follow are always real.There isn't a single beat where the audience is reminded we are looking at actresses performing a role.These are just real girls trying to find themselves.There is no political agenda,hidden or otherwise.This is cinema at its most basic,and although it will probably only be seen by a handful of movie-goers,it deserves a much wider release.A special hats off to Hugh Hefner for providing the film-makers with the grant money needed to get this important film made.I can't wait to see what Mr. McKay does next.

Fifteen and wondering what will happen in the future. Trying to figure out what you can and cannot do with boys without getting into trouble. Trying to figure out how to be as cool as I wanted to be without losing who I was becoming. I found this film very true-to-life, it reminded me of my cousins, nieces, and friends in this stage of life (and of course, myself). I only hope many young people will see it on DVD and many adults will take to heart the tentative movements this film portrays and give the kids a break.

I recently saw this amazing movie at the San Francisco International Film Festival. I didn't know what to expect, but what I saw was a revelation. From beginning to end, I felt immersed in the movie feeling that the experience I was having was not a movie, but an actual slice of real life. In the question and answer session with Jim McKay after the movie, it became clear why this was the case. McKay spent a total of about 3-4 years on this movie, including one year hanging out with the (real) marching band in the movie. Preparation like this is what gave the film its incredible authenticity, the feeling of being there along with three teenagers in Brooklyn. I also appreciate McKay taking his time with each scene, letting one scene flow organically into another, instead of the quick cuts from scene to scene you tend to see in major studio movies (and most of the indie movies I've seen--many of which just aspire to be mainstream movies). If you didn't happen to catch it at the Film Festival, I highly recommend seeing it when it starts getting distributed (McKay said that looks like either Fall 2000 or Spring 2001). Personally, I can't wait to see it again.

I saw this film earlier today, and I was amazed at how accurate the dialog is for the main characters. It didn't feel like a film - it felt more like a documentary (the part I liked best). The leading ladies in this film seemed as real to me as any fifteen year-old girls I know.

All in all, a very enjoyable film for those who enjoy independent films.

After seeing this film at the SF Independent Film Festival, I couldn't wait to hear about how to get a copy. Jim McKay gave a talk (Q&A) about the film afterward which presented his ironic situation: how to get distribution for a film which portrays minorities (women, non-whites) working on resolving controversial issues (teen pregnancy, teen motherhood, racial identity, single-mother households), and how to write a faithful script on all of these topics being a mid-thirties white male. The multi-racial, multi-gendered audience of mostly-adults raved about the film's fantastic storyline, detailed characters, and fantastic portrayal of "real teen life." Most of the teens, however, had left the building--leading me to think this is a film best seen by adults with kids, as a starting point for discussion rather than, as many adults there felt, "a film teens should see because it's about them." Hence, distribution questions--how do we get our hands on it? The Internet (retail) would be a great path--this is a film that will be buried, like "Pups" or other radical modern teen films--and McKay seemed responsive. As for his credits as a writer/director, McKay was _extremeley_ sensitive and detailed in his work--allying himself to the Crown Heights neighborhood in which the film is set, working with actors to portray characters in their own vision of what they think should be--with the results being disarmingly realistic.