Strawberry Mansion

I loved this movie! The aesthetic is very pretty, I got a bit Wes Anderson-, "The adventures of Baron Munchhausen"-, and Terry Gilliam-vibes from it.

The plot is very interesting. I don't understand the people here that says it doesn't make sense. Yes, it's surreal and the weirdness factor is through the roof, which probably is what confuses them. But I love weird and surreal movies that isn't obvious in any way. I hate being spoon fed what a movie is about (which is probably why I hate new and modern films). I like there to be shrouded parts you really have to think about, and movies you might have to see more than one or two times to get the full picture. Strawberry Mansion is just like that!

It's obvious it is on an bit of a budget, but I think that only adds to the charm. The length was good, but maybe they could've tightened the entire thing up a little bit.

To me it is a good sign when the reviews of a movie is either from people who loved it or from people who hated it, and almost no one that was just "Eh...". To me that is a sure sign the movie is interesting and worth a watch.

Anyway...I loved it and I'll definitely see it several times again!

A film about taxes and dreams, and then a love that seems to transcend the latter (or take place within the latter), Strawberry Mansion is also about taxing dreams, and some potential conspiracy about advertising in dreams. There are lots of dreams. It is unsurprisingly dreamlike and there's something undeniably impactful about it, but I feel like I got lost in both good ways and bad.

Still, more good than bad. I mostly liked this a lot. It's creatively fantastical for something that doesn't look big budget, and I like how so much stuff that sounds goofy on paper was presented with sincerity. It commits to a deeply strange logic and always feels consistent to itself, though I wished I was able to keep up entirely. Some parts are quite moving in ways that are hard to describe.

The experience it provides makes it more than worth digging out. I also thought the music was incredible, and it was cool to learn Dan Deacon was behind it (have heard at least one of his albums before).

At the end of the day, I feel like there's a lot that could be said about Strawberry Mansion; maybe even too much. But I can't say much at the moment. Whether seeing it again or reading up on it will unlock more of its secrets remains to be seen. For all I know, maybe everyone else is similarly lost (again, this is mostly a good thing; feels generally intentional, if just the tiniest bit frustrating).

Oh, it was also funny how much one of the supporting actors in this looked like Nick Offerman.

If you prefer imagination over spectacle, story over CGI, and heart over the sameness and blandness of many movies being released today then this film is for you.

The production value isn't top notch but the story and ideas are original, inventive and exciting. This film percolates in your mind long after viewing.

It's an enjoyable and satisfying journey which I'm sure to take again and again through repeated viewings.

Strawberry Mansion isn't perfect, but I have a distinct sense if people understood what it took to deliver the mind-warping visuals delivered thorughout, people would have a lot more respect for it.

This movie appears to be shot in 16mm. In reality, it's a digital film, incorporating stop motion animation, CGI, live action and animation as part of a coherent whole, which was then 'filmed out'' to 16mm. There are only three film labs in the U. S. that can process 16mm film-outs. In the case of Strawberry Mansion, the aspect ratios don't match up, and so the film's original widescreen 16:9 aspect ratio had to be squeezed into the 4:3 aspect ratio of 16mm.

This warps the image but offers the desired grain that Birney and Audley were after. Then the film was printed onto 400-foot reels of roughly 10 minutes and 40 seconds each. The film reels are scanned digitally, and then, reversing the squeezing formula, the image is stretched back out to 16:9, eliminating the warped look, but including all that desired film grain. Strawberry Mansion used 7203 Kodak 50D film stock for its film-out.

Why does it matter you ask? Because the script that accompanies it is the stuff of dreams, and if a Gaspar Noe or a Lynch had delivered this, it would be deemed a box office success (sadly, Strawberry Mansion didn't do so well).

The acting is on point, and while it's true that at time you can 'see through' some of the magic which kills the initial immersion, it's still a marvel of dedicated filmmaking with a very strong main arc, an insightful foray into a future dystopia and a bloody good representation of the human psyche viewed through a dream.

Yes, it's a hard sell, but I admire the Directors for bringing this to life, as it's easily a 20m $ concept shot on a shoestring budget with amazing results. It may not cut as deep as some indy marvels out there, but as a friend recommended me the other day, why constantly give movies on imdb 1 or 10s? Strawberry Mansion confortably sits at a 7, and with a little bit more cash, could have easily pulled an 8.5.

A must watch for any movie lover, or anyone who still have that child-like appreciation for magic, but don't want to be spoon fed a Disney (tm) milquetoast production.

How do you resist when even your dreams are taxed and mercilessly injected with ads? This low-budget oddity, part Lewis Carroll part Terry Gilliam, follows a 'dream auditor' down the rabbit hole to find a new dream life and a way to stop the invasion of our minds in the 'Strawberry Mansion'. While the production is sometimes rough around the edges, the concept is intriguing, and the casting and creature designs are quite good. Kentucker Audley anchors this as the slightly bewildered auditor Preble, and actors Penny Fuller and Grace Glowicki feature as the artist Arabella, aged in reality and youthful in dreams respectively. How they managed to craft this lightly engaging gem on such a tiny budget is a question for the big studios to ponder.