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Symbiopsychotaxiplasm: Take One (1968) poster

1968 · drama

Symbiopsychotaxiplasm: Take One

Directed by William Greaves1h 15m1968

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

Our read: Symbiopsychotaxiplasm: Take One (1968) reads as a neutral, measured, inventive drama entry — gentle in intensity, intimate in scope, cold in temperature, nihilistic in outlook, with a strong directorial signature.

Movie DNA

Neutral, measured, gentle drama, inventive in texture. Nihilistic, intimate, cold.

ElsewhereIMDb7.23kRT88%Metacritic71TMDB6.957
  • measured
  • inventive
  • signature
  • intimate
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Where the cast leads
DNA · twelve axes

How Symbiopsychotaxiplasm feels to watch.

Each axis is scored by hand, not from votes or genre averages. The bar uses the film's own colours.

MoodHeavy ↔ Cosy
PacingSlow-burn ↔ Kinetic
IntensityGentle ↔ Extreme
WeirdnessConventional ↔ Surreal
HopeNihilistic ↔ Redemptive
StakesIntimate ↔ Epic
HumourNone ↔ Broad
RealityGrounded ↔ Fantastical
DensitySparse ↔ Twisty
WarmthCold ↔ Tender
AuteurTransparent ↔ Signature
Tonight, this looks like

What watching it is actually like.

“You want meta experimental doc of a crew filming a couple's screen test in Central Park.”

ends ambiguousit stays with youmeditativegrips by minute 10attention 4/5earns its length
Date nightWith friendsSoloWith parentsKids around

Skip it tonight — Skip if self-reflexive 60s avant-garde filmmaking process puts you off.

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