“Out with the old, in with the new, this is the story of the Buskers & Lou.”
That’s the tag line for this so-indie-it-hurts film that could give some of the other low-budgeted affairs a run for their money. If I were deciding what to affectionately call it, and I mean this in the playful poke way that I often call my vintage-wearing vinyl-loving friends, I’d definitely name it “hipsters, hipsters, hipsters.” And yes, that is entirely in the way of 1950s strip joints that would lure men in with “girls, girls, girls.” Because frankly, that is what director Alex Cassun is doing about the thrift shop-wearing populace in this movie. Funnily enough though, there is an endearing vein rolling through it.
The Buskers & Lou suffers from its visuals. Although a lot of this could be down to its low budget and use of handheld cameras, some of it is because Cassun chooses to focus on “arty shots” and extreme close ups. It’s a trait that falters a lot of movies. In some cases, it is a fine aesthetic choice. But here, because it is completely unnecessary, it hampers it. Not to mention that, in parts, the pacing is annoyingly slow, which drags the heart of the film along.
As well as this realistic and loving lead, The Buskers & Lou is populated with brilliant pragmatism. It effectively balances the quirkiness of Lou’s friends and the seriousness of his future goals with an air of realism and whimsy. Though part of you may feel anger towards people skirting by on happiness and minimal money, you will feel yourself yearning, like Lou, to do it, too. Cassun may slightly fault the film with the angles, but the earnestness of Lou pulls it up to what can honestly be one of my favourite endings in recent independent movie fare.
The Buskers & Lou will be screening on 20th of June at Genesis Cinema thanks to the East End Film Festival! Find the full screenings here.