Why Liz Garbus’ Lost Girls Isn’t Just Any True Crime Film | Netflix

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When my agent sent me
the script for Lost Girls, I was like, “Okay, this
is it, this is the moment where I’m gonna
pause, and I’m gonna make
this one happen.” I think experience as a
documentary filmmaker really translates to
working with actors because it’s really an
interpersonal skill. And working with actors,
while I studied techniques, it is just very much an
interpersonal experience and I loved that work. There have been excellent
documentaries on this case. What I felt was
extraordinary that really couldn’t be covered in the
documentaries were the internal struggles
of the families who were going
through this kind of terrible injustice of losing
a loved one and having nobody care or
look for them. The sort of, the way in which
that changed families stretched them thin but
also healed frayed bonds, that was not something
that we could explore in a documentary. I think Lost Girls is
kind of the inverse of the true crime doc or
the true crime fiction film in that, it’s really,
we normally focus on the police and what they
do or what they don’t do or the criminal and
what he did or she did, and this film is
really the other side, it’s really flipping
the script and it’s the other side
of that coin. It’s, “What is the ripple
effect on all the lives surrounding these crimes
and the human drama in the world
of the victims?” What’s so great about
working with real people and real characters is
you can make the film feel incredibly specific and
specific to them. We knew Mari really liked
crystals and Stevie Nicks. Right, so that really informed the
production design of her house, right,
because you can kind of, that creates a
whole aesthetic. The other women who are
big players in the film, we knew a lot about their
styles and interests and we were able
to kind of really make each character very specific
and very true to themselves. So, little cues like that really helped inform
the character. Of course Zodiac, both
thematically and visually, was a reference. I think A Most Violent
Year, which was shot by Bradford Young, was another
visual reference for me. Prisoners. The amazing
Roger Deakins shot. The look of the film
did so much great work in the storytelling. I’m a huge fan of
Ozu and in Tokyo Story, which was a film my
cinematographer and I looked at and pulled references from, distance was created
from the protagonist through kind of obscuring
your protagonist beyond multiple frames. There are ways in
the beginning of the film where I really wanted Mari
to be almost obscured, like behind a frame, behind
the counter in the kitchen that you couldn’t really
see her, down the hall, disappearing down
the hallway. As the movie continues
and Mari kind of confronts some of her demons and lets go
of some of her self-hatred, you know the film opens up,
we’re able to see her better. And you know these are ideas
that we take from the greats. I think I’m attracted
to films which feature voices that we don’t
often get to hear. From my early days,
making films in prisons to today with Mari Gilbert
who had to fight so hard and continue
to raise her voice in order to just get
the most basic rights that we think we’re
afforded as citizens. I love those stories, I love
characters who are complicated, who you may not
think that you’d like, but then you grow
to admire and respect and then yes,
love hopefully. I like those toothy heroines, and I like a film about
a lot of badass women and that’s what this film is.

24 comments

  1. When your so early and can’t think of a good joke that’ll get likes in the comments so you end up thinking instead of watching the video 👁👄👁

  2. It is a MUST WATCH!!! So well done..and Amy…omgosh GREAT ACTRESS, kudos to casting! Directing..SPOT ON!

  3. When will the 6th episode of the 100 series arrive? there are other dites, but i want to watch on netflix. Please tell me

  4. I've seen many crime documentaries about this and the only thing I cure it in this story is the number of missing people. Pretty clear which she had a psychotic break she called the police the John asked the driver to get her out of the house she ran from both of them stop and old couples house thanks for help he said her down called the police and she ran off again in the midst of her breakdown. What makes but true story so fascinating is that she happened to go missing Prairie close to it's serial killers dumping grounds and also a couple other bodies that were unrelated. The doctor was sketchy what's so many of the key elements of the story were fabricated. most of all the idea that the mother was some sort of hero. She gave up Shannon at 12 cuz she was mentally ill it took a cut from her prostitution only seem to care when the news media was on her and she was later stabbed to death by her other daughter who was mentally ill as well.

  5. Disturbing awesome movie, but a pity that the song at the end is a blatant rip off of Lady Gaga's song 'Shallow'.
    There's even a line in the song where Lucinda Williams sings 'In the shadows…' at the start of the line so that it sounds like it's actually Gaga you're listening to… hey, it's even in the same key.
    A pity, as it takes from the overall integrity of the telling of this tragedy.

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