While I was on vacation (did you miss me? did you even realize I was gone?) David Lowery posted an interesting pair of videos on his blog: the first nine minutes of his feature St. Nick; and a webseries episode shot in 2007 that became a kind of video sketch for the opening of that film, albeit with a much older male lead. St. Nick, which won a prize at the AFI Dallas Film Festival and which I became a big fan of at SXSW earlier this year, screens in Seattle on July 24, and will have its New York premiere on August 28 at Rooftop Films.

Outside the wind in Park City blows cold while inside here, in this tiny restaurant nestled away from the film festival hubbub of Main Street, filmmaker David Lowery slips off his jacket as he scans though the menu’s vegan options. In town for the Slamdance screening of his graceful, thought-provoking short film A Catalog of Anticipations, Lowery, more than this year ago now, bounces from venue to venue, sledding expedition to premiere party all the while returning to his hotel room in the breaks between to prep production for his debut feature film St. Nick.

Set in an isolated Texan winter landscape, the debut, which like Lowery’s shorts is as equally graceful and thought-provoking a mystery, follows a pair of adolescent sibling runaways who, for no seemingly better reason than that they can, trek out on their own self-reliant whim. Too young to understand the world as it is and yet too old to fully embrace the blind innocence of childhood again, the two scrape by, salvaging food from dumpsters and setting up shelter in an abandoned house. While aesthetically captivating and elegant, its shot design as experimental as it is fluent, St. Nick is undeniably a film composed of several provocative ideas and moments. It’s not always an easy film to understand, and that’s exactly, Lowery mentions now, just a few weeks left before the film’s premiere at South by Southwest, what he was after.

I love this notion in the Director’s Statement that you realized you were growing up on the first day of kindergarten, this idea that from that point on you’d have to wake up early. What was it like to be in that mindset as a child, and why do you think that idea occurred to you at that young age?

I wasn’t trying to make a happy film about childhood, and that was based on my own feelings. I remember being upset a lot as a kid, and so as I was trying to address all of that, it occurred to me that maybe that idea was tied into this [fear and anger] somehow. It seemed like a dynamic related. There was another moment I remember going up to my room and trying to knock myself out with a two-by-four; I was ten years old. So that’s an equally valid explanation of where the movie came from I think.

I was feeling a lot of resentment and other emotions when I was developing the project. That, I think, comes first. I had the idea for the movie, I was making it and then all of that emotion further came out as I was working on it. It wasn’t the driving force behind it, but it welled up as I was making it or preparing to make it.

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The success of Slumdog Millionaire, despite our reservations about it, has got us thinking about romance in film. We look to another Westerner’s spin on Indian romance, Nina Paley’s Sita Sings the Blues. The animated feature, which is now available for free online, weaves an ancient Indian epic with a modern day break-up story, all with a soundtrack of vintage Annette Hanshaw. Then we look at Roman Holiday. A classic romance involving royalty, where the lovers don’t live happily ever after.

Karina tells us what to look out for at this year’s South by Southwest Film Festival, the indie film destination where everybody knows your name. Don’t miss Alexander The Last, Drag Me To Hell, Sorry, Thanks, It Came From Kuchar, and St. Nick.

(Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) …Read more

Two kids — a boy of 11, and a girl of 9, brother and sister, apparent runaways — drag a duffel bag into a crumbly, seemingly abandoned house. Now they live there. No one seems to be looking for them, and they offer no explanation as to where they came from or why they ran away. They could as likely be aliens as lost little children. It’s almost as if they’ve drifted off into another realm, some kind of Oz.

The first half of David Lowery’s feature directorial debut St. Nick is devoted to the ways in which this family unit spends their days building a life in their new home. Procuring provisions for cheese sandwiches, salvaging furniture, fixing the toilet. Arguing about the fate of the dog they left behind, and whether or not he misses his under-age owners. Virtually wordless for long stretches of time, St. Nick relies heavily on contemplative imagery to convey meaning –– particularly, the clear-lit landscape or a Texas winter in juxtaposition with the pink-and-white faces of his two young stars, real-life siblings Tucker and Savanna Sears. As both types of images, both equally beautiful and mysterious, become increasingly gray, the film matures from a study of actions infused with a quiet magic, to a study of inaction, of waiting and drifting telegraphing an increasingly palpable sense of fear and dread.

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As SXSW 2009 approaches we’ll be asking filmmakers to spill the superficial details about their films, to tell us all the deep personal details of what makes them tick, and –– new this year! –– reveal who they had to sleep with, in the incestuous conspiracy-minded secret society that is the wider SXSW community, in order to get their film programmed at the festival.

Disclosure time! David Lowery wrote a few reviews for us last year at SXSW. This year, he will not be writing for us, but he will be at the Festival representing his first feature, St. Nick. Workshopped last summer at the IFP Filmmaker Lab, the Emerging Visions entry follows “the adventures of a brother & sister trying to survive, all on their own, out on the plains of Texas.” David answers to The 5 Questions We’re Asking Everyone involve taking inspiration from Ernest Goes to Camp and praise for SXSW spontaneity. There’s more info on St. Nick’s website, and at David Lowery’s blog.

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While I’m in Texas for the week, Texan filmmaker (and sometime Spout contributor) David Lowery is in New York, attending Independent Film Week to support his feature St. Nick, which is a product of IFP’s Emerging Filmmaker Labs. He’s writing about his experience for Hammer to Nail, and had some interesting observations about the health of the industry. An excerpt:

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• The subject of today’s Friday Screen Test interview at DVD Panache is film blog hero David Hudson of GreenCine Daily. An excerpt, regarding something he learned from watching movies: “I’m going to have to be a little cryptic…I walked into the film in a state of torment, not even realizing that what was tearing me up was the need to make a decision. When I walked out, I realized that I was facing a choice that hadn’t been clear to me before. And I knew damn well which way I’d have to decide. And, sorry, but I’ll have to leave it at that. I will say, though, that, as is often the case is such situations, the movie wasn’t even a particularly good one!”
• This Vanity Fair chart weirdly lumps Cannes in with a number of summer music events, including Coachella and the “Michigan Womyn’s Music Festival.” You’ll have to judge its accuracy for yourself, but I made it through ten days in the South of France without going near a yacht, a bellini nor cocaine. I swear.
• Congratulations are in order for Friends of Spout David Lowery and Dia Sokol, whose feature projects (respectively: St. Nick and Sorry, Thanks; the latter stars another FoS, Wiley Wiggins) have been selected for IFP’s Independent Filmmakers Lab, which means they’ll also make the short list for a new $50,000 grant.