"Lillian" had an independent release after winning the Jury Award of Distinction at 1993's Sundance Film Festival. It played in many large markets and Richmond, Virginia, where the film was shot and where David Williams lives and works. Duane Byrge of the Hollywood Reporter chose "Lillian" for his Top 10 Films of 1993 list, an honor shared with such films as Schindler's List and The Piano. This film does not yet have a major distributor.
Part of that tragedy lies in the subject matter and construction of "Lillian." Lillian is a real woman, "acted" by Lillian herself. The situation -- a day in the life of an elderly woman who takes care of several foster children and bedridden senior citizens in her two story house -- is based on Lillian's reality. But the movie is scripted. David chose to have some roles played by actors, and others played by the people on which they're based. The small crises in the film may have happened. But the large ones did not. The result is a fictional film of such incredible versimilitude, even some of the participants had trouble distinguishing fact from drama.
In addition, Lillian and her family put forth a face on African-America which shames other well-intentioned filmmakers. They are not heroes or role models or stereotypes because they're real people. What's more, the theme of this film is not about race or gender or age. If anything, it's about how we turn the care of our children and parents over to others. It's about the decay of the American family, shown through a woman with an extended and robust family made up of blood relatives and foster relatives. Lillian is the unintentional savior of the sandwich generation, and as the film so quietly portrays, she cannot take care of us forever.
A word about the filmmaking. Except for the lack of explosions and A-list actors, and some art-film interludes (Williams was a painter and photographer before exploring film), "Lillian" is indistinguishable (visually) from a "real" movie. Shot on Super-16mm and blown up to 35mm, "Lillian" makes judicious use of cranes and tracks, all while exploring the confined spaces of Lillian's actual house and the environs of Richmond's North side. This film is a real treat that few have seen. Just as Williams' follow-up film "Thirteen" (which also features Lillian) resonates with anyone who's ever been a girl, "Lillian" will find favor with anyone who has a mother.
Part of that tragedy lies in the subject matter and construction of "Lillian." Lillian is a real woman, "acted" by Lillian herself. The situation -- a day in the life of an elderly woman who takes care of several foster children and bedridden senior citizens in her two story house -- is based on Lillian's reality. But the movie is scripted. David chose to have some roles played by actors, and others played by the people on which they're based. The small crises in the film may have happened. But the large ones did not. The result is a fictional film of such incredible versimilitude, even some of the participants had trouble distinguishing fact from drama.
In addition, Lillian and her family put forth a face on African-America which shames other well-intentioned filmmakers. They are not heroes or role models or stereotypes because they're real people. What's more, the theme of this film is not about race or gender or age. If anything, it's about how we turn the care of our children and parents over to others. It's about the decay of the American family, shown through a woman with an extended and robust family made up of blood relatives and foster relatives. Lillian is the unintentional savior of the sandwich generation, and as the film so quietly portrays, she cannot take care of us forever.
A word about the filmmaking. Except for the lack of explosions and A-list actors, and some art-film interludes (Williams was a painter and photographer before exploring film), "Lillian" is indistinguishable (visually) from a "real" movie. Shot on Super-16mm and blown up to 35mm, "Lillian" makes judicious use of cranes and tracks, all while exploring the confined spaces of Lillian's actual house and the environs of Richmond's North side. This film is a real treat that few have seen. Just as Williams' follow-up film "Thirteen" (which also features Lillian) resonates with anyone who's ever been a girl, "Lillian" will find favor with anyone who has a mother.
