When David Lowery's The Outlaw Son was slated to play at the Sarasota Film Festival, he expressed an interest in the film festival's blurb of the film. The blurb isn't really important, but his reaction to it is. "I love it," Lowery stated, "because it's an interpretation that I'd never have thought of myself, but that's entirely applicable to the film all the same." That's really the magic of this high-concept, experimental narrative with absolutely no dialogue--save three words at the very end of the film. It's the subtle placement of things, the body language and facial expressions and a mood created by lighting, sound and music (in this case, The Theater Fire!) that tells a story. The fact that there are no words and that the audience can take away their own interpretations of the film, really adds to its essence. Much like a painting in a museum, The Outlaw Son relies on its audience to complete the story.
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