Black-and-white, portrait-style footage of Reed and fellow VU founder John Cale, shot by Warhol - who required them to remain silent, not to smile and to blink as little as possible - provides a mesmerizing motif as observations from the two of them and others who were part of the scene play simultaneously in audio and filmed interviews.įilm critic Amy Taubin, a frequent presence at the Factory, says of the Warhol Silents, “It was all about extended time.” Haynes and editors Affonso Gonçalves and Adam Kurnitz use that temporal porousness in subtle ways to erase the usual historical/analytical distance of pop-culture docs and instead create something more stimulatingly immersive and wildly trippy. The archival research that went into the project must have been a massive task, but much of the key material comes from the Warhol Museum in Pittsburgh. In the breadth of its observations about the restless creative energy of the time, Haynes’ film is as much a sweeping study of a radical art movement as a behind-the-music exploration of one great epochal band. he wanted to create the equivalent of their prose in rock music. It also draws on literary influences that inspired Lou Reed’s songwriting, among them Baudelaire, Rimbaud, Ginsberg, Burroughs and Hubert Selby Jr. Venue: Cannes Film Festival (Out of Competition)
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