Long before filmmaker Georg Koszulinski verbalizes it in his narration, viewers of his laconic, minimalist documentary A Highway Called 301 will clearly make the same connection he does: The abandoned, weed-overrun structures that lay alongside the titular road resemble the sets of numerous post-apocalyptic movies.
Highway 301 stretches from Florida up to Delaware, so, physically, the film goes a little beyond Koszulinksi’s normal Panhandle State confines. Thematically, it fits in snugly with his other social, vaguely political work, like and Cracker CrazyImmokalee U.S.A., although this film is much more obtuse and poetical than his traditional style.
Actually, in my previous review of Immokalee U.S.A., I called Koszulinski an artist rather than a documentarian. Now, I’m going to call him a poet. Yes, there is the occasional on-screen text poem, but the poetry comes mostly through how the images are arranged that, for the most part, chronicle a dead non-franchised world.
Highway 301 stretches from Florida up to Delaware, so, physically, the film goes a little beyond Koszulinksi’s normal Panhandle State confines. Thematically, it fits in snugly with his other social, vaguely political work, like and Cracker CrazyImmokalee U.S.A., although this film is much more obtuse and poetical than his traditional style.
Actually, in my previous review of Immokalee U.S.A., I called Koszulinski an artist rather than a documentarian. Now, I’m going to call him a poet. Yes, there is the occasional on-screen text poem, but the poetry comes mostly through how the images are arranged that, for the most part, chronicle a dead non-franchised world.
- 12/31/2010
- by Mike Everleth
- Underground Film Journal
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