Desperate for a mentor to replace Katano, Robert latches onto Wallace, despite all outward signs of instability (after all, he’s accused of assaulting a pharmacist) and his transparently insignificant status in the comic world. 'Funny Pages' Trailer: Josh and Benny Safdie Produce A24 Cartoonist Coming-of-Age StoryĢ2 Great Erotic Thrillers, from Adrian Lyne to Brian De PalmaĢ023 Emmy Predictions: Outstanding Animated ProgramĮager to live in the “real world,” Robert throws himself headfirst into the deep end of humanity.Īt the public defender’s office, Robert crosses paths with Wallace (Matthew Maher), a hostile man who used to work as a color separator at Image Comics. Owen Kline, Troubled Child in 'The Squid and the Whale,’ Directed the Year’s Wildest Comedy He subsequently moves out of his parents’ house in Princeton, New Jersey, buys a cheap car from a comic store owner, rents a sketchy basement apartment in Trenton, and acquires a data entry job in the office of the public defender who kept him out of jail. After getting arrested for breaking into his high school to steal back Katano’s work, and subsequently rejecting the legal counsel of a family friend in favor of a public defender’s services, Robert informs his frustrated parents (Maria Dizzia and Josh Pais) that he’s dropping out of high school. Katano (Stephen Adly Guirgis) dies in a freak car accident. This is the epiphany Robert (Daniel Zolghadri), the budding cartoonist at the heart of Owen Kline’s debut feature “ Funny Pages,” reaches when his art teacher and mentor Mr. If rebellion naturally demands having enemies, then there are no better ones for suburban white kids than a comfortable middle-class existence and supportive parents. This myth neatly frames a relatively safe home life as an oppositional force. It lives “out there” where the “real people” live, with all their unsexy poverty and well-earned misery. Raw truth, the stuff of art, doesn’t exist in public school hallways and nicely decorated living rooms. Many of them believe it’s necessary to live like them in order to emulate their work. Sheltered, creative adolescents tend to romanticize the fucked-up lives of their artistic heroes.
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