TANGERINE (2015) - 7/17/2024
An initial aversion
If there is one thing you know about the Sean Baker 2015 feature Tangerine, it’s that it was shot on an iPhone. And while, very admirable, I have an intense aversion to sitting through and watching things that don’t meet a certain standard of quality. It’s why I won’t revisit films like Rachel Getting Married or Bloody Sunday1. It’s one thing if the intent of the film is to be told through a dated (or current) medium. That’s why films like Blair Witch or any of the Paranormals are fine by me. The household effect (while making the budget for these indies much cheaper) really sets the tone for how real they can feel. But something about shooting on an iPhone really bumped me.
That is a snobby belief, I understand. The gatekeeping of film and cinema has been problematic for decades, and the ability to disseminate technology to those without the financial resources to tell stories is incredibly important and popular. But if I’m to sit down and focus on something for at least 80 minutes, I want it to look good. However, What I did forget is that while iPhone 5s are not 15s, iPhone 5s aren’t bad.
Baker is an incredibly important filmmaker whom I do really enjoy and admire. I had previously only seen The Florida Project and Red Rocket, but he does an incredible job of taking these microscopic enclaves (be it life in an Orlando motel or Texas City) and really drawing you into the lives of these downtrodden places. With his upcoming Anora winning the Palme d’Or at the most recent Cannes and the trailer being launched, it really got me excited to dive back into his worlds - which usually involve sex workers. So, I felt as if I had to finally take the plunge and shake off the prejudice I did have.
Being that he shot this on an iPhone2, he leant himself to doing multiple takes that didn’t cost extra money or as much time. Everything is immediately rewatchable and redoable without having to do major setups. Following the lives of these trans sex workers as they navigate one day of chaos works so well for this. With the iPhone, he was able to get up close and personal. With the iPhone, he was able to move freely in tight spaces and shoot on location.
One of my biggest fears with films like this, is that because it is done for so little money, that they cut down on the amount of takes or setups, lending the final product to long, boring takes. But the thing is that because there are no fees spent on cards or stock or tape, that doesn’t exist. The film moves so well and is cut so well to match the chaos that both Sin-Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor) bring to the screen. It flows so well and is so warm and welcoming. And, yes, you can see some of the phone quality in the film, but it is no worse than what something like Crank looks like.
Baker is a master, and I wish I did not doubt this at all. I cannot wait for Anora to hit and hope it completely crushes.
Shockingly, neither for the actual hard but great content of the films.
With additional focusing and color apps and lenses, not just on a straight up iPhone.