
Acropolis welcomes James N. Kienitz Wilkins for three screenings of the director's new feature The Misconcieved—once on 35mm, on July 9 at Brain Dead Studios, and twice digitally, on July 10 and 11 at Now Instant Image Hall—as well as a special matinee of The Plagiarists on July 11 at 2220 Arts + Archives.
About the film:
In a tragicomedy about millennials turning forty, The Misconceived continues the journey of Tyler from The Plagiarists (2019). The Misconceived is a 3D-rendered feature film about home renovation that doubles as an acidic and comic treatise on the working conditions of the contemporary creative class. Starring John Magary, Jesse Wakeman, Jess Barbagallo, J. Dixon Byrne, and Callie Hernandez.
Directors' Statement:
The Misconceived is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. The Misconceived takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.
TRT: 88 min
Format: DCP
In person: James N. Kienitz Wilkins
"An intellectual triumph." —Chris Cassingham, InReviewOnline
"A funny, visually fascinating, and pungently sharp movie." —Nicolas Rapold, The Last Thing I Saw
"[An] incisive, inventive movie... I was reminded of Richard Linklater’s Waking Life." —Rory O'Connor, The Film Stage
"A surrealistic nightmare... Catapults [Wilkins'] recurring constellation of themes into his craziest visual world yet." —Chloe Lizotte, Reverse Shot
"Across six features, 10 shorts, and numerous essays, [Wilkins] has produced less a conventional body of narrative film work than a critical intelligence in motion, with its own peculiar laws, byways, jokes, and traps." —Ricky D'Ambrose, Screen Slate
(Available to download after screening date)
