- Average Ratings - 5,4 / 10
- Country - USA
- Jeff Daniels
- Runtime - 74 minutes
- Director - Timothy Busfield
- Release date - 2019
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Watch Guest Artist [2019] Movie Online Free streaming audio. The Valley Anthony Brault The Valley is inspired by the French Alps; specifically, it's based on a real-life rock formation with similar gaps, which artist Anthony Brault tries to push the scale of in order to heighten the sense of fantasy in the environment. Learn more about the artist Starberry Rock Veikka Somerma Starberry Rock is inspired by Finnish nature and mystic summer nights. On this warm evening, the starberries are in full bloom in the shadow of an erratic rock buried deep in a forest. Learn more about the artist Falling Sands Logan Feliciano A little technical practice comes together beautifully in the mysterious landscape of Falling Sands, made by combining Quixel 3D elements, bashing/rendering in Blender, and painting away in Photoshop. Learn more about the artist Waiting Road Svetlana Dmitrieva Waiting Road is an allusion for the state of the main character in the piece: a young musician leaving his native land, tormented by nostalgia and mixed feelings. But despite the internal conflict within, a reflection of hope remains in the form of a silhouette, waiting for him forever at the bus stop. Learn more about the artist Early Daybreak Ryan Phair Early Daybreak is inspired by Mongolian yurts and the Dukha people who live in those icy, mountainous regions. Waking up early before dawn, a lone hunter returns with supplies to stay warm amid the cold, frosty winter. Learn more about the artist Trauco Santiago Betancur Ask the people of Chiloé, an island archipelago off the southern coast of Chile, and they might tell you about the infamous Trauco - a small humanoid creature that lives deep in the forest, similar to a dwarf or goblin. According to Chilota mythology, it possesses a powerful allure that's irresistible to anyone it chooses, despite its unsightly face and legs without feet. This version of the Trauco was created as part of Creatuanary, an art challenge in the vein of Inktober that invites artists to design new creatures every day in January. Learn more about the artist Nestled Esther Wu Nestled is part of a small series about a valiant young girl and a golden-crowned caribou on a journey, with each work revealing a new locale they've found along the way. Here, our audacious explorers have discovered a lone, seemingly long-abandoned cabin deep in the woods. Learn more about the artist The Raptor Queen Sam Leung The Raptor Queen is a character concept design featuring a powerful mage with an avian-inspired look. Her powers allow her to summon various birds of prey to come to her aid when needed. Learn more about the artist Mega Man X Redesign Scott Zenteno Mega Man X Redesign brings the titular game's Ride Armor into the 21st century by converting the original 2D sprite into a fully-realized 3D design. Artist Scott Zenteno says, "I recently picked up Blender and wanted to take something I loved from the past and bring it into the modern era! The Ride Armor was the first boss from Mega Man X and faithfully translating its pixels was a great time. " Learn more about the artist Quiet Sunset Anda Sung Quiet Sunset is a concept illustration inspired by Gothic architecture and the peaceful stillness of winter. As the sun breaks through the clouds, it casts a warm, welcoming glow on a lone angel statue guarding the graves of the dead. Learn more about the artist.
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Jeff Daniels adapted his stage play centered on the perils of hero worship and stars in the two-hander as a burned-out alcoholic playwright. Small-scale, no-frills and lo-fi, Guest Artist feels like a homegrown project mounted by a couple of talented guys from Michigan. Those guys happen to be Timothy Busfield, who directs, and Jeff Daniels, who scripted and stars. Daniels' effortlessly commanding performance as a blocked and bitter writer is the chief draw in the not particularly taut two-hander. Though its running time is brief and a lot of the writing is sharp, the tug-of-war between a onetime literary lion and his wide-eyed No. 1 fan lacks the necessary tension to make the drama's outcome matter. Daniels adapted his own play, which was originally staged at the Purple Rose Theater Company that he founded in his hometown of Chelsea, Michigan, where most of the film was shot. He brings a strong ear for language to his exploration of jaded experience in collision with openhearted innocence. But it's a collision we've seen many times before, and though Busfield's eye for scene-setting locations helps to open up the story, the feature never manages to shake off its obvious stage roots or a certain fusty, formulaic structure. Having premiered at Santa Barbara before booking a berth at the Beloit festival in Wisconsin, this not-quite-ready-for-theatrical Guest will continue to find warm welcomes at local festivals. The film opens with what is by far its most powerful sequence, set in Manhattan's theater district at Christmastime. Busfield and cinematographer Willy Busfield (the director's son) capture the unique glamour of Times Square, and the geometry of the Manhattan cityscape, with fresh energy. This wordless nighttime montage, tinged with alone-in-the crowd desolation and set to the elegant emotion of Brian Stokes Mitchell's rendition of "The Christmas Song, " views Daniels' barfly from a discreet distance. It ends as the song does, after two and a half minutes, with the first clear shot of his face: weathered, grizzled and achingly glum in the harsh morning light — a money shot if ever there was one, its sock-in-the-gut impact unmatched by any of the ensuing single-location pas de deux that makes up the bulk of the story. Daniels' Joseph Harris, a playwright who once upon a time won a Pulitzer and was the toast of the town, is about to board a train for the Michigan burg whose theater company has commissioned a new work for him. As his fed-up agent (a well-cast Erika Slezak, longtime star of One Life to Live) ungently reminds him, that Podunk assignment is the best he can hope for in his dissolute state. Their bitchy barbs over daytime drinks have a tartness that's sorely lacking in the rest of the film, however bone-deep the rage, disdain and general disappointment Daniels brings to his role. The big man arrives in the small town, and the action, set mainly at the train station, soon devolves into a mannered back-and-forth that's more tiring than involving. Having poured countless minis down his gullet, with something far closer to desperation than enjoyment, a plastered Harris focuses his wide-ranging anger on Kenneth Waters (Thomas Macias), the aspiring playwright and ultra-fan who’s late to meet him at the station. Kenneth is the kind of untempered disciple who spouts his idol's quotes at him (sometimes after a googling refresher). Believe it or not, he carries one of Harris' books with him, as well as — suspension of disbelief required — clippings of the playwright's interviews. The latter come in handy for quote-spouting after a fulminating Harris destroys Kenneth's smartphone. Amid effusive praise, blunt refusals, shouty manifesto-ing and baseball-bat wielding, the drama pits earnest newbie exuberance against cynicism and self-destruction. Whether Harris even has new material to fulfill his commission is the intended crux of the matter, but it generates little heat in the telling. The material's questions about integrity, courage and resilience, and what it takes to defy family expectations and become an artist, are too generic to pack a punch. Even so, Daniels, confident and generous as he plays opposite a far less experienced actor, imbues his well-written lines with a world-weariness and searing intelligence. Peppered throughout the central duo's arguing and bargaining are reaction shots of the stationmaster (Richard McWilliams) that hint at a subplot — or something — that never quite materializes, although the character delivers a few pointed observations. Within the station setting, Busfield keeps things moving, not always avoiding self-consciousness in the shifting placement of actors and camera. He and his DP are better at conveying a sense of place outside the walls of the railroad waiting room — the silos of the landmark Jiffy Mix plant, the postcard-pretty downtown and, beyond, the edge-of-town darkness, even when it’s the setting for a sequence that feels like padding, reconnecting Kenneth with the girl he pined for in high school (McKara Bechler), who's not incidentally named Hope. A title card at the beginning of the movie says that it's "based on an incident which became a play which became this film. " Whatever its real-life inspiration, there's no question that it's a family affair. Busfield's wife, Melissa Gilbert, serves as a producer, and Daniels' sons participated in the production — Lucas as a camera operator and Ben, the writer-star's frequent musical collaborator, as composer of a score that's sometimes too plucky, sometimes perfectly understated. It's the handmade, from-the-heart quality of this flawed feature that makes it noteworthy; the drama is less memorable than the fact that two accomplished industry vets stepped away from Hollywood and into their own backyard. Venue: Beloit International Film Festival Production company: Grand River Productions Cast: Jeff Daniels, Thomas Macias, Richard McWilliams, Erika Slezak, McKara Bechler, Ruth Crawford, Lynch Travis, Dan Johnson Director: Timothy Busfield Screenwriter: Jeff Daniels Producers: Michael Lohmann, Alyssa Loveall, Michael Ferdie, Michael A. Alden, Timothy Busfield, Jeff Daniels, Melissa Gilbert Executive producers: Donald Clark Director of photography: Willy Busfield Production designer: Gae Buckley Costume designer: Elizabeth Warn Editor: Alyssa Loveall Music: Ben Daniels Casting director: Guy Sanville 75 minutes.
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