Film Reviews

ONE CUT, ONE LIFE

By • May 13th, 2015 •

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Cherry blossoms figure prominently in the life and death of Ed Pincus. Through the various seasons the man condemned to a certain demise withers and rebounds along with the distinct seasonal shifts of the Northeast. Life is a stronger force than the persistence of death as there is enjoyment to be found amid a struggle to survive. Ed is a whirlwind of ideas and emotions which places Lucia Small in a position as both storm chaser and powerless shelter seeker.

Decades prior, Ed Pincus had been bestowed the title of “father of the first person documentary.” His initial claim to fame was with BLACK NATCHEZ (1967), that followed the aftermath of a car bombing in a Southern town during the civil rights movement. 25 years had passed without making a film when Lucia and Ed encountered one another, kindling a spark to his return to filmmaking. Years later, their collaborative trek along the celluloid path came to an end. With the passage of time, the pair reconnected for what may be their last chance to make a film together.

That film is ONE CUT, ONE LIFE.

Ed’s one life is divided by two women – Lucia and Jane. Who is Jane? Ed’s wife, best known for co-authoring Our Bodies Ourselves. She is strong-willed as she confronts the invasion of her personal space in a battle to coddle the dwindling precious moments of her marriage vow ’till death do us part’ without the prying lens of a camera. She bares all in prostrating honesty to that camera and to the woman behind it, Lucia, in this complicated dynamic triangle. Her unselfish giving to offer her husband the time, space, and distance needed to taunt his ill-fate by living as normally and as fulfilling as Ed Pincus – Filmmaker, is martyr-like.

ONE CUT, ONE LIFE parallels these three strong, intelligent, and creative forces who collide from time to time. It is a uniquely uncommon reality of the heavily-scripted Hollywood married-plus-one movie concept. No one is untouched by the serrated edge of emotion. The volatile circumstances of uncertainty demand pressing decisions which are sought while juggling between the pragmatic and impassioned. The man who is readying to possibly face his maker isn’t taken by hand for plush niceties and to stroll a sugar-coated walk with cotton candy clouds and honey streams. Ed, Jane, and Lucia pursue their relationships and experience it with all its complications. It’s a moribund man and woeful women toiling in a bruised world.

Death is a key figure, making a final appearance in what could be considered a trilogy.
Many years prior a maniac attempted to make good on his promise to kill Ed Pincus. With such a threat looming, Ed abruptly abandoned his homelife and uprooted his family to Vermont. The gun toting psycho killed a U.S. representative and later revealed that he couldn’t find Ed. Lucia Small was shocked by the deaths of two friends – one murdered and the other a victim of hit and run. Both tragedies occurred in such a short time span of one another. this film seems to be a form of therapy for Lucia to work alongside Ed reconciling their past issues, and to create something that will last forever.

Along with the twenty-first century digital obituary #RIP that is tweeted to the universe for all eternity, Ed Pincus’ legacy is forever etched with ONE CUT, ONE LIFE. This death-meets-art tribute will ensure that Pincus’ contributions to the world of filmmaking will not go unnoticed.

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