Adrien Shelley was an actress, director, mother, spouse and friend, and her life was cut short on November 1, 2006, when 19-year-old Diego Pilco, a construction worker, joined her. of the apartment in order to rob him and when Shelley was discovered, he was strangled to death and then hung in the bathroom to show that he had committed suicide. These are horrible details of Shelley’s death, and they’re not far from the inside Adrien, the premiere of a new documentary on HBO on Dec. 1 following its screening at the DOC NYC Film Festival on Nov. 14. However, as directed by her husband Andy Ostroy, this non-fiction memoir is less about Shelley’s final day horrors than about it. the inspiring light of his life as well as the immense grief that resulted from his untimely death.
Ostroy tells the story of his deceased wife on screen Adrien, turning the film into both an action to combat an arbitrary tragedy and a celebration of her many roles. The most popular of them was as a rising star, as Shelley made a name for herself in the Indian film industry in Hell Hartley’s film. Stupid truth and Confidence. Those main parts were a display of her strong personality and enduring rigidity, the second part of which was despite the fact that she was beautiful and young (standing only 5’2 ”) and therefore the chauvinists of the film industry could easily see her as a beautiful sexist in She needs male protection. But Shelley was not satisfied with being an actress, and after a series of unfulfilled projects, she quickly got involved in behind-the-scenes work and reached her peak in 2007. waiter, who became a Sundance a few months after his death.
waiter continued his amazing life as popular Broadway music, and in the beginning Adrien, Ostroy asks the guests, who are waiting to enter the theater, if they know his wife. The fact that they don’t know his name (although it’s on the island) is just a long line of the hardships Ostroy has endured and emphasizes his personal motivation for making this documentary: that is, to preserve his memory and in doing so. thus, to give him the respect and dignity he deserves. To that end, he offers numerous clips from Shelley’s films and auto-shorts, behind-the-scenes footage from his production, photos of him on stage, excerpts from interviews from the 1990s and homemade films, acclaimed recordings. , and scenes from a documentary he made in and around New York about the search for and the nature of happiness.
In those archival moments, Adrien The joy that Shelley has brought to every professional enterprise she has done, and the euphoric pleasure she feels over her daughter Sophie, who was only 3 years old at the time of her death. Now a teenager, Sophie joins her father to talk sincerely about Shelley’s absence, as well as Shelley’s mother, friends and famous colleagues, all of whom still seem shocked and devastated by her unexpected fate. From Carey Russell and Paul Rudd to Jeremy Sisto and Hell Hartley, colleagues about his talent, with him Stupid truth The film’s wife, Robert Burke, stated that “she was absolutely single, to the point where I was worried.” They also appreciate the courageous feminist approach she has put in all her efforts, including waiter, which preceded the #MeToo line and its second life in the form of music is a testament to the universal appeal of its progressive spirit.
Adrienhomage to Shelley is always felt as if it is expressed with teary eyes, and this ends with the final screening of the film, in which Ostroy visits Pilko in prison to find out what really happened on that terrible November day. and why and also to show the murderer exactly what he stole the most. Through an interpreter, Pilko, who apparently repents, explains how his robbery of Shelley’s apartment – a frequent act because he owed so much – turned into a murder when the actress caught him during the robbery and tried to rob him. call the police (Pilko was an undocumented immigrant from Ecuador). The meeting between Ostroy and Pilko is horrible for us as well as for Ostroy, who forces Pilko to look at photos of his wife with himself and young Sophia, including a photo taken on October 31, 2006, the day before. murder – and after grief overcomes and breaks the chat.
“The meeting between Ostroy and Pilko is horrible for us as well as for Ostroy, who forces Pilko to look at photos of his wife with himself and young Sophia, including a photo taken on October 31, 2006, the day before. murder – and after grief overcomes and breaks the chat.»
Shelley’s death was pointless and stupid and Adrien does not try to cover it with an inappropriate ‘meaning’. Instead, he perceives it as a crime that has left an empty hole in the film-making and heartbreaking community, in the home of Ostroy and Sophie, who, with the help of relatives and Ostroy’s three children from a previous marriage, have left. one of them reacted to Shelley’s murder and immediately moved in with Sophie and took her under her wing. Ostroy makes anime from notes from conversations he and very young Sophie had about Shelley’s death and emphasizes the horror of counting the tragedy as a child and as a parent. In today’s chats, they don’t respond decisively to coping with their situation, but instead sound to the ongoing pain and grief that has now become a normal aspect of their existence (if not, in some ways, defining).
That unsolvable torment is ultimately the most resonant chord that has been struck by them Adrien. No matter how hard Ostroy tries to turn his documentary into an inspiring memory, he will not be able to escape the grief of his wife’s fairy tale, and this is in the interest of the trial. Honestly there is a direct recognition in the film that blocking and healing are just words designed to offer a fantasy of recovery that will never be fully realized; the spots of loss pass so deeply and shape life so deeply that they are always there and paint one’s thoughts and behavior. Ostroy and Sophie, with the understanding that what has been taken from them can never be achieved, and therefore they have become completely different people, and in which there is a sincere portrait of the tragedy and its long-term consequences, quietly appear. Adrien puts its admirable mark.
“Adrien” premiered on HBO on December 1st.
https://www.thedailybeast.com/remembering-adrienne-shelly-the-feminist-filmmaker-murdered-by-an-undocumented-immigrant?source=articles&via=rss | Remembrance of Adrien Shelley, a feminist filmmaker who was killed by an undocumented immigrant