Evidence
of the 1950s and 1960s was visibly apparent throughout Annette Ontell’s house. In
contrast, you can see the influence of uber-postmodern aesthetics throughout
the documentary her grandchildren made about her. Much of the film probably
would have baffled Ontell, but she surely would have been proud of the sibling
filmmakers anyway. Elan and Jonathan Bogarín consider their grandmother through
the prisms of archaeology and fashion, while struggling to catalogue the
resulting clutter in the Bogaríns’ 306
Hollywood, which premiered last night at the 2018 Sundance Film Festival.
306 will be quite a
programming challenge for many subsequent festivals. Ontell is an
audience-pleasing kind of figure. For years, she put up with her husband, while
building a reputation as an ultra-exclusive dress designer. Generally, she made
only two of each chic frock—one for her Park Avenue clients and one for
herself. They lived modestly, but comfortably in Newark at 306 Hollywood Avenue
for decades. The Bogaríns also had the foresight to film her extensively during
the last ten years of her lives. However, when it came time to box up the old house
on Hollywood, the sibling filmmakers and their mother, Marilyn Ontell, were at
a loss.
Every
dress told a story and every knick-knack seemed to hint at a wider narrative.
Their dilemma took on spiritual-metaphysical dimensions when told by various
experts the souls of the dead linger in their homes for eleven months. The family
decides to keep the house during that time, so they can commence a
psychological excavation of everything Ontell accumulated. As part of the
process, they solicit commentary from pop culture physicist Alan Lightman,
funeral director Sherry Anthony, and fashion conservator Nicole Bloomfield.
The
Bogaríns also incorporate a great deal of the footage they shot of Ontell in
her late eighties and early nineties, some of which she would have probably
preferred not to over-share. When a stray audio cassette is discovered, they
even resort to using actors to lip-synch the scene. Yet, it is their
representational collages that really would have made Ontell shake her head in
confusion. They have cited Wes Anderson and Agnes Varda as influences, which definitely
makes sense, that puts the film on the rather playfully experimental end of the
spectrum, exactly where those most inclined to identify with Ontell will feel
decidedly uncomfortable.
Yet,
this is such a rarified work unto itself, it is impossible to identify anything
that does not belong. Frankly, this is the sort of film that ought to be
preserved in a terrarium, much like the dioramas it features. Indeed, its
colorful stylistic eccentricities are refreshing to those of us who have done
our time with Marker and his followers.
There
is a lot of family love in 306 Hollywood that
all viewers ought to be able to recognize and appreciate. There is also quite a
bit of craftsmanship, some of which might be lost on its presumed target demo.
If Ontell were not such a warm, motherly figure, we would definitely tag it as
a better fit for experimentally minded documentary festivals like RIDM and
DOXA, rather than Sundance. Recommended for viewers inclined to be both
adventurous and sentimental, 306
Hollywood screens again this morning (1/19), Wednesday (1/24), and Friday (1/26)
in Park City, as well as tomorrow (1/20) in Provo and Sunday (1/21) in Salt
Lake, as part of this year’s Sundance.