Meta Take One 

(dirs. Ryan Dutter & John Dierre)

By: Adam Freed

There is an unfortunate and unfair prejudice that many moviegoers subconsciously fuel when it comes to supporting independent films.  This perceived allergy to budget-conscious productions coupled with the long observed practice of overlooking films shot in black and white, would all but certainly relegate Meta Take One to the “pay no mind” list for some hasty audiences.  The shame in this reality is that the aforementioned thriller directed by Atlanta-based filmmakers Ryan Dutter and John Dierre, is one of the most impressive independent feature length debuts in quite some time.  Shot painstakingly over the period of two years using 16mm film, Meta Take One is a visual feast, weaving elements of classic filmmaking with an audaciously contemporary brand of high concept editing.  The result of Dierre and Dutton’s ambitious debut is nothing short of magical, forcing its way to the top of the “must see” list for audiences willing to be challenged by the self-funded indie creation.

As inviting as Meta Take One is visually, its true superpower is revealed in the first word of its title.  The film focuses on a small team of independent filmmakers who in the process of trying to capture the perfect scene for their low-fi film, inadvertently become ensnared in a crime that undoubtedly changes the trajectory of their lives.  The self-aware box within a box nature of Dierre and Dutton’s film about making a film, works on a variety of levels.  Most shocking of these various avenues of success is how effectively comedic the interactions between characters are, especially following an incident that would clearly devastate anyone of sound mind.  In particular the performance of EJ Ezeruo (Frame of Reference) takes center stage as “John The Director”, an ambitious filmmaker unwilling to compromise on his ambitious vision, no matter the collateral damage that falls in the wake of his production.  John is a wonderfully winking nod from two gifted filmmakers about the obsessive and all-consuming nature of writing, directing and producing an independent film.  Opposite Ezeruo is Ernest Emmanuel Peeples (Zola), who imbues “Damon the Actor” with a sympathetic desperation, mostly a result of his character’s downward arc, but also at the behest of his director’s incessant, and humorous insistence that Damon manifest his “inner Denzel” (Washington) amidst the chaos of his performance. 

Independent cinema doesn’t exist without a small but mighty team who often trade their financial aspirations for a belief in the project that they steadfastly support with their time and energy.  This is clearly the case for composer Madfi, and a tiny team of sound designers including Sabrina Codeno-Tobon, Alberto Garcia and Pavel Georgiev.  Meta Take One is the great beneficiary of its propulsive score, doubtless the result of the same type of freewheeling ambition that elevates the script and cinematography behind Dutter and Dierre’s production.  Independent debuts don’t come much more ambitious and unique than Meta Take One, a powerful combination that is sure to mesmerize even the most reluctant of audiences.  

Target Score 9/10 - In an age of increasing desire to experience films that are fresh in concept and execution, independent filmmakers John Dierre and Ryan Dutter have crafted one of the more ambitious and visually striking cinematic experiences in some time.  Shot entirely on 16mm film, Meta Take One is a self-aware thriller that acts as a needed reminder in the power of indie storytelling.