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On the ‘Laguna Beach’ reunion, this former love triangle is back for nostalgia, not drama

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On the ‘Laguna Beach’ reunion, this former love triangle is back for nostalgia, not drama

It feels like a relic from a bygone age of simplicity: an entire season of reality TV hinging on the social lives of a group of unpolished teenagers. They gossiped, cried, partied and fought. They worried about college admissions and which shade of polish to choose at the nail salon. They cast longing looks from across the room.

That was “Laguna Beach.”

Series creator Liz Gateley had just started working at MTV in 2003 when she pitched an unscripted series following a real group of high schoolers in Southern California.

“The logline was, ‘90210’ and ‘Heathers’ meets ‘Dawson’s Creek,’’’ because we knew we wanted music to be a big part of it,” Gateley said. “We didn’t know it would be the phenomenon it became.”

Shot more like those glossy dramas than a reality series, every “Laguna Beach” episode opened with Hilary Duff’s “Come Clean” playing over the sunkissed credits and a title card that let viewers know “the people, the locations and the drama are real.”

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For the most part, they were.

At the heart of the first season was a quasi-love triangle between on-again, off-again Laguna Beach High School couple Stephen Colletti and Kristin Cavallari, and Colletti’s close friend (possibly more), Lauren Conrad.

The cast of MTV’s “Laguna Beach,” from left: Stephen Colletti, Kristin Cavallari, Morgan Olsen, Christina Schuller, Trey Phillips, Lo Bosworth, Lauren Conrad and Talan Torriero.

When the series premiered on MTV in 2004, it became an instant (and controversial) hit, made millennial household names out of Cavallari, Colletti and Conrad, and led to the spin-offs “The Hills,” “The City” and “Newport Harbor.”

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Now, 10 original cast members, including those stars, have reunited for “The Reunion: Laguna Beach” premiering Friday on the Roku Channel. (The special was originally planned to coincide with the cast’s 20th high school reunion in 2024 but is now loosely timed to the anniversary of the show’s 2006 finale.)

Hosted by actor Casey Wilson, the reunion is an upbeat, feel-good affair, highlighting some of Season 1’s most memorable moments and faces. Cavallari, Colletti and Conrad all served as executive producers and wielded a degree of “creative control,” Colletti said.

“We didn’t want it to be this dramatic, ‘Housewives’-type reunion,” Cavallari said. “We wanted to do it for the nostalgia.”

Ahead of the reunion’s premiere, Colletti and Conrad, both 40, and Cavallari, 39, convened for a lengthy interview with The Times at a beachfront hotel restaurant in Santa Monica. Nestling into a corner booth with the trio felt like sitting with the cool kids you’d only ever watched from afar.

Yet, the three — even Cavallari and Conrad, who were pitted against each other in the 2000s — were warm and chummy, cracking jokes and enthusiastically agreeing with one another.

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They’ve come a long way from their high school drama. Conrad has returned to Laguna Beach where she and her husband, the Something Corporate guitarist turned attorney William Tell, are raising their two sons. Cavallari oversees a lifestyle brand in Nashville and shares three children with her ex-husband, the former NFL quarterback Jay Cutler. And Colletti recently appeared on “The Traitors” and stars in the upcoming second season of the comedy “Everyone Is Doing Great.” He and his wife, NASCAR host Alex Weaver, are currently expecting their first child.

These are edited excerpts from the conversation.

How did the reunion come about? Did anyone require convincing?

Cavallari: I credit Stephen for all of this, because the [“Back to the Beach”] podcast [co-hosted by Cavallari and Colletti] was his idea, and then from there, the reunion.

Colletti: When I first called Lauren about it, she was like, “Alright, I have a few questions.” You didn’t shoot it down right away, but you could tell there were some things that we needed to work through for this to make sense, and rightfully so.

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Conrad: For me, just the idea of bringing cameras back into my life was very nerve-racking, but we were all executive producers. We all had a say, so we felt like we had a bit of control, which, in the past, we haven’t.

Three people smiling and laughing as they lean against a white railing.

Conrad, Colletti and Cavallari are all executive producers on “The Reunion: Laguna Beach.”

(Jason Armond / Los Angeles Times)

The “Laguna Beach” producers chose your high school for the show in 2003 and then began selecting interested students to star. What do you remember about your applications?

Cavallari: I just remember trying to make myself stand out. I was competitive. I didn’t even have the foresight to be like, “Do I want to be on TV?” It was more like, “I want to win this thing,” like I’m competing to be on TV. Everybody was vying for it.

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Colletti: I remember doing some of the interviews [with the producers], and I’m freaking mumbling. I’ve got this pineapple hair. I’m trying to be like Freddie Prinze Jr. I didn’t know who I was.

What was your understanding of what being on reality TV entailed?

Conrad: Well, they put together a package for us. They had filmed for maybe a week, and they showed it to us and our parents before we signed on — and that was pretty different from where we landed.

Cavallari: It was more PG. No real drama, more like a documentary.

Colletti: No s— talking.

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Conrad: Just like, “What’s it like to live in a beach town?”

Cavallari: I remember my dad being like, “Well, this is going nowhere. They’re really boring.”

When did you realize that your love triangle was going to be the central storyline of Season 1?

Cavallari: Pretty quickly. In my [audition] interview, a lot of the questions were geared toward it. Obviously, once we started shooting, we got a pretty clear idea.

Colletti: They started to hone in on certain things, or they fed our friends a question to ask us.

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Cavallari: I remember having to be very careful about what I said — but not careful enough because I didn’t think about editing. I was just like, “Well, if I don’t say it, what are they going to do?”

Conrad: A look says it all. They’ve admitted to me that in the pilot, at the hotel, they used a scene where I’m looking at a tray of food, and they made it look like I was looking at Stephen.

Lauren and Kristin, you don’t ever really speak face-to-face on “Laguna Beach.” Were there more interactions happening at that time that we didn’t see?

Conrad: No, that was it.

Cavallari: We really did not.

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A woman in a black outfit and heels poses near white railing overlooking the beach.

“I have a lot of respect for Lauren, and I think it’s been really nice to get to know this version of her, as adults, as moms, as business owners,” says Kristin Cavallari about her former castmate Lauren Conrad.

(Jason Armond / Los Angeles Times)

You two share a really mature conversation in the reunion. How have your perceptions of each other changed over the years?

Cavallari: I have a lot of respect for Lauren, and I think it’s been really nice to get to know this version of her, as adults, as moms, as business owners. We have a lot more in common than I ever thought. I’m just really thankful that we can close this “Laguna Beach” chapter this way. It does feel really therapeutic.

Conrad: I echo everything you said. So much time has passed and pretty quickly after the show ended, we sort of squashed everything, but we’ve lived separately and we don’t see each other ever. So, this was a nice excuse to do it on camera because I think that actually is meaningful for people who were invested in that storyline to see — you grow up and you move on and these things are not that important.

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The fashion on the show was pretty iconic during that era. Were you putting much thought into your TV outfits?

Conrad: Not in Season 1. I had to buy all my own clothes, so I’m mostly in a C&C tank top and Miss Sixty [jeans] that I saved up for. It’s all the same outfit, I’m just reversing tanks.

Colletti: For me, it was board shorts all the time. In Season 2, for some reason, we started wearing sports coats over hoodies. Not good.

Cavallari: I wish I cared more in Season 2. That was my senior year, and I was over high school in general, so that carried through to the show and my appearance. Maybe that was part of the appeal, as well. There was this innocence with us just being normal kids.

There were no false lashes or full faces of glam.

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Conrad: Oh no, no, no. A lot of it’s, like, last night’s eyeliner.

Cavallari: I always had a zit.

Conrad: Oh, yeah, I know! Not for you, but for me. My skin wasn’t very good.

A group of teenagers posing for photo outdoors near a doorway.

The cast in 2004, from left: Lo Bosworth, Trey Phillips, Kristin Cavallari, Lauren Conrad, Talan Torriero, Christina Schuller, Morgan Olsen and Steven Colletti.

(MTV)

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You were all 16 and 17 when you were cast on “Laguna Beach.” Were there any discussions around, “Be mindful of what you do on camera,” or “This might follow you for the rest of your life”?

[All laugh]

Cavallari: Honestly, no.

Colletti: The only media training that we got was like 30 minutes before the VMAs [Video Music Awards] in Miami right before [the first season of] the show was about to air. They’re like, “If anybody asks, it’s all real.” That’s what we were told. “Don’t say this. Say this,” and “Good luck.”

The show was more tame than most of today’s reality TV, yet there was a lot of on-camera underage drinking.

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Cavallari: Oh, yeah. A lot.

Conrad: [The producers] were very aware. They couldn’t buy us alcohol, but they were aware we were drinking.

Did anyone ever step in and say, “Hey, maybe we shouldn’t be filming these teenagers in an inebriated state”?

All: No.

Cavallari: I don’t even remember it ever being a conversation.

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Colletti: There was a moment where producers said, “You know you guys are underage, so you can’t be drinking.” But they said it so casually and while the cameras were rolling —

Conrad: — Oh, liability.

Colletti: Yes. I actually felt for a moment, should we put [the drinks] away? And everyone’s like, “No, dude. It’s fine.”

Cavallari: In no way, shape or form was MTV ever pushing it. We were just naturally doing that, like most high school kids back then.

Conrad: On “The Hills,” they had to start filming morning scenes of us hungover because they showed so much drinking. They were like, “We have to show the consequences of drinking.”

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Gateley noted that the “Laguna Beach” producers “would have, for sure, stepped in if anyone was not safe.”

Kristin, during the reunion you said that you didn’t realize saying “no” to the producers was an option. What would you have done differently?

Cavallari: I don’t regret anything, it just never crossed my mind. Maybe because I’m a high school kid, and I have these adult producers saying, “Hey, show up here and do this,” and I just assumed that was what I was supposed to do. I wised up later in my reality TV career, but not for a while.

Conrad: I remember [castmate] Lo [Bosworth] used to say no to a lot of stuff. She’d be like, “I’m just not going to go,” and I was like, “I don’t think we can do that!” I was very like, “I signed up, I need to show up.” I can’t remember ever saying no. I questioned stuff sometimes, like the voiceover. I would reword stuff because it would feel a little harsh.

Colletti: They never forced anything on us, but when you’re 17 years old and you’ve signed this contract with MTV, you felt that responsibility.

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Cavallari: I realized too that they were going to get what they wanted no matter what, whether you put up a fight about a line or not.

Conrad: I went into the [production] office once and they had a storyboard on a big wall. I realized we were only halfway through the wall, and there was a card like, “Story continues.” I was like, “Oh, my God, what’s going to happen? What comes next?” It felt very “Truman Show.”

In a memorable Season 1 episode, the teens journey to Mexico to spend spring break in Cabo San Lucas. While there, they get drunk at a club. Kristin gets close with another boy and dances on a bar, while Stephen repeatedly yells that she’s a “slut.”

The first Cabo episode —

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Colletti: It looms large.

Stephen and Kristin, how do you look back on that now?

Cavallari: We were so young. At 17 and clearly being intoxicated, my go-to was to pop off. So, when I watched it back, I was proud of myself for trying to remove myself from the situation. I can totally appreciate what Stephen was going through. Not everyone has a camera in their face at age 17, and we had to grow up in front of an audience.

Colletti: I had fully locked that away. I don’t even know if I even watched it all the way through [when it aired]. But, ultimately, it boils down to just not [being] proud of the way I acted.

I look at it feeling sorry for us, for those two kids, that this is an embarrassing moment that’s on camera. You wish it’s not there for them, but at the same time, look how far they’ve come from that time and that moment.

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Did MTV show you the episodes before they aired?

Conrad: They came the day before.

Colletti: Sometimes, strategically, I think that they ended up arriving the next day. It was like, “Oh, we didn’t get it in the mail to you on time!”

Were they on DVD?

Conrad: VHS! [Executive producer] Adam DiVello bought me a VHS player for my dorm in San Francisco so that I could watch them.

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When the show premiered, did your lives change instantly?

Conrad: It felt immediate for me. The first week I arrived at college, [MTV] came out with these posters that said, “They really are this rich and beautiful.” That was the tagline. And I was, like, at art school. I never got to have a college experience because pretty immediately it was like, “Oh, I’m that girl.”

Colletti: The irony is, I wanted to do the show to no longer conform to the trends of high school. I made the choice to go to San Francisco State because not a lot of people from Laguna were going there, and then [everyone] saw this version of me on the show. It was a lot to process — people in the dorm trying to take pictures of you when you’re walking to the shower, or guys at parties trying to fight you just because you’re a guy from a reality show.

Cavallari: I was sort of in a bubble still being in high school. Life felt fairly normal, but then they would call me and be like, “Hey, we need to get on a plane tonight to be on ‘TRL.’ tomorrow.”

Three smiling people standing near a white railing overlooking the beach.

The castmates say their lives changed after “Laguna Beach” aired: “It felt immediate for me. The first week I arrived at college, [MTV] came out with these posters that said, ‘They really are this rich and beautiful,’” Lauren Conrad, far left, says.

(Jason Armond / Los Angeles Times)

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Do you remember what you bought with your first paycheck? It was around $2,000 for the whole first season.

Conrad: I bought a pair of Chanel sunglasses.

Cavallari: I bought a little Chanel purse. I think that was probably the second season, though.

Colletti: I blew it on some golf clubs. I’d always had hand-me-downs from my brother, so the fact that I could buy new golf clubs, I was on top of the world.

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Cavallari: I would have done the show for free. I was like, “We’re going to get paid for this?!”

Would you let your kids be on a reality show when they’re in high school?

Cavallari: No, I would never let them do a show like we did. Those are such precious years. When you graduate and you turn 18, that’s one thing. But while you’re a kid, just be a kid.

Conrad: If we were going back and doing it during the time we did it and in that environment, maybe it’s a conversation. Now, with social media, I would have a hard time letting one of my children do it. It’s just so much pressure.

Colletti: I’ve got this master plan of telling my kid that his dad was on a TV show that was really cool back in the day. And then, when he sees his dad on it, he’ll be like, “It’s not cool. I don’t want to do what Dad did.” It’ll deter him or her.

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Why do you think “Laguna Beach” continues to resonate?

Colletti: It represents a very specific time in society, and it was [showcasing] kids who were not trying to become famous. The whole fame machine that is reality TV these days, we really did not think we were getting ourselves into that.

Conrad: Nowadays, people do a show and they’re like, “This is going to kickstart my career.” I was looking to make some connections in the fashion industry, but besides that, I wasn’t looking to create a brand or do any of those things. We didn’t seek it out.

Are there any other paths you’d like to pursue that you haven’t? [“The Hills” star] Spencer Pratt is running for L.A. mayor — any chance you’ll have a political career?

Cavallari: No. I feel pretty fortunate that I’ve been able to do a lot of really exciting things over the years. I feel pretty content.

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Conrad: Me too. I worked so hard in my 30s. I wanted to do everything, but I’m in a place where I’m so lucky to have my family, and I just want to be present for them.

Colletti: I’m excited to become a dad. It’s such an exciting time. Everything feels right where it should be.

Movie Reviews

Karuppu (Veerabhadrudu) Movie Review – Gulte

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Karuppu (Veerabhadrudu) Movie Review – Gulte

2.5/5


02 Hrs 30 Mins   |   Action Fantasy Comedy   |   15-05-2026


Cast – Suriya, Trisha Krishnan, RJ Balaji, Indrans, Anagha Maaya Ravi, Natty Subramaniam, Swasika, Sshivada, Mansoor Ali Khan, Supreeth Reddy, George Maryan, Deepa Shankar, Namo Narayana and others

Director – RJ Balaji

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Producer – S. R. Prabhu & S. R. Prakash Babu

Banner – Dream Warrior Pictures

Music – Sai Abhyankkar

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It’s been a very long time since Suriya scored a unanimous theatrical hit. Soorarai Pottru and Jai Bhim were good films and received very good appreciation, but both skipped theatrical release and were released directly on Prime Video. Interestingly, the director, R. J. Balaji’s directorial debut, Mookuthi Amman, was also released directly on OTT. At a time when both of them need a theatrical hit, the hero and the director duo, teamed up for, Karuppu (Veerabhadrudu in Telugu ) a fantasy action drama film. The addition of Trisha, as female lead and Sai Abhyankkar, as music director, helped the film to generate good hype among fans and audience. After resolving the last-minute financial hurdles, the makers released the film today (i.e. a day later than the scheduled date). Did Suriya finally score a hit at the box office? Did R. J. Balaji utilise the opportunity to direct a star hero and deliver an engaging film? Did Sai Abhyankkar come up with chartbuster music yet again after, Dude? Let’s figure it out with a detailed analysis.

What is it about?

Baby Kannan(R. J. Balaji), a cunning and corrupt lawyer, runs a mafia and controls the Metropolitan Magistrate court in Chennai. He and his team intentionally extend the court hearings, to get fees from clients for a long time. They even turn judgments in their favour by bribing the Magistrate. What happens when a father(Indrans) and his daughter(Anagha Maaya Ravi), travel to Chennai from Kerala, with a bag full of gold? Why did the father carry a lot of gold in his bag? How did the deity(Suriya), Karuppuswamy, help the father and daughter, when they lost their gold? What challenges did the deity face while dealing with corrupt public officials? Forms the rest of the story.

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Performances:

It’s good to see Suriya in an out-and-out commercial film after a long time. It looked like he thoroughly enjoyed playing the role of Karuppuswamy in the film. His screen presence and performance were top-notch as always. Trisha Krishnan in the role of Preethi, an honest and young lawyer did a good job with her performance. And yes, the age is catching up with her and it was very evident on screen.

Indrans and Anagha Maaya Ravi, in the roles of a helpless father and daughter, did an excellent job with their performance throughout the first half. The scenes on them in the first half are one of the major positives of the film. R. J. Balaji in the role of a corrupt lawyer did a good job with his performance but it would have been better if they had gone for an actor who has enough experience in doing antagonist roles. Interestingly, he had more slow-motion shots in the film than the hero, Suriya.

Natty Subramaniam in the role of Magistrate did well too. Especially, his performance was very good during his sequence in the film. The film had many notable actors and bearing one or two, most of them delivered good performances.

Technicalities:

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Sai Abhyankkar’s work as a music director is a huge letdown. He failed to come out with good songs and apart from a couple of BGMs, his background score for the film was very loud, especially in the second half. G. K. Vishnu’s cinematography is good as always. Particularly during the fantasy episodes, the colour palettes and the frames he used, deserve appreciation. R. Kalaivanan’s editing was very tight and engaging in the first half but he should have done a better job in the second half. Production values by, Dream Warrior Pictures, were adequate. Let’s discuss the writer and director, R. J. Balaji’s work in detail in the analysis section.

Positives:

1.⁠ ⁠First Half
2.⁠ ⁠Suriya’s Screen Presence

Negatives:

1.⁠ ⁠Second Half
2.⁠ ⁠Loud Background Score
3.⁠ ⁠Over The Top Action Sequences

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Analysis:

The directors, Shankar Shanmugam and Atlee in Tamil and Koratala Siva in Telugu, are a few of the directors in India, who are known for making socially relevant commercial entertainers, engagingly and entertainingly. These three directors along with a few other directors, made many commercially viable social drama films with different backdrops in the past. Just like the aforementioned dire tie, the director, R. J. Balaji, chose a socially relevant storyline and blended it well with socio-fantasy, with ‘God Vs Corrupt Public Official’, as a conflict point. Sounds existing, isn’t it? It indeed is exciting and up until the end of the first half, everything seemed to be working very well.

The emotional drama in the first half is the major highlight of the film. Unfortunately, after finishing the first half on a very good note, the director and his writing team, lost the track completely in the name of fan service and commercial mass moments. Right from the word go in the second half, everything appeared too loud and over the top.

It takes a good thirty to forty minutes for the protagonist to appear on screen but we as the audience never miss the protagonist during this period because of the gripping emotional drama. Right from the very first sequence, the director pulls us into getting connected with the father and daughter duo, their struggle and helplessness.

The director deserves appreciation for making the audience feel the pain of the father and daughter and we eagerly wait for someone to come and help them. And, when the protagonist, finally enters the screen and takes charge of the proceedings to help the father and daughter, every sequence was appreciated with loud cheers by the audience. The emotional drama, the initial conversation between God & the corrupt lawyer, the subsequent courtroom drama and the pre-interval sequence, made the first half end on a good note and raised the expectations further in the second half.

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Unfortunately, for some reason, the director decided to take a different route in the second half and relied completely on mass commercial moments. It is where the film completely lost track. After letting God win, although on a sad note, at the end of the first half, the director seemed to have run out of ideas to come up with gripping drama further. Is it really possible for a corrupt human being to win against a powerful God? No way, right? The antagonist character appeared so small and insignificant in front of a ferocious God. It appeared like the director too is aware of it and included the dialogue – ‘Is it really required to use the powers of so many Gods’, just to stop a small-time corrupt lawyer’. That’s exactly what we as the audience feel while watching the second half. Since there’s no story or ideas to drive the film further, the director filled the second half of the film with commercial high moments one after the other. But, most of them appeared over the top, including the forced appearance of Suriya in his crowd favourite, Durai Singham getup. Another drawback of the film is that R. J. Balaji, took the role he played in the film too seriously and ended up giving a lot of screen space to his character with unnecessary slow-motion shots, punch dialogues, etc. It would have been better had he concentrated on writing, particularly in the second half.

Overall, interesting backdrop, socially relevant storyline and engaging emotional drama, in the first half worked out well but the film lost its track in the second half with a not-so-engaging screenplay and over the top action sequences. However, Karuppu, is a much better film among Suriya’s theatrical releases in the recent past. You may give it a try watching but keep your expectations low, particularly in the second half.

Bottomline – ‘God’s Magic’ Worked Partially

Rating – 2.5/5

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Filmmaker Brian Lindstrom, known for underdog documentaries, dies at 65

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Filmmaker Brian Lindstrom, known for underdog documentaries, dies at 65

Brian Lindstrom, a filmmaker whose documentaries shined a light on society’s underdogs and inspired social change, has died. He was 65.

Lindstrom’s wife, author Cheryl Strayed, confirmed the news on Instagram Friday.

“Brian Lindstrom died this morning the way he lived — with gentleness and courage, grace and gratitude for his beautiful life,” she wrote. “Our children, Carver and Bobbi, and I held him as he took his last breath and we will hold him forever in our hearts. The only thing more immense than our sorrow that Progressive Supranuclear Palsy took our beloved Brian from us is the endless love we have for him.”

According to the National Institute of Neurological Disorders and Stroke, PSP is caused by damage to nerve cells in areas of the brain that control thinking and body movements. The rare neurological disease progresses rapidly.

Strayed, who penned the bestselling memoir “Wild,” which was later adapted for the big screen and starred Reese Witherspoon, announced just weeks ago that Lindstrom had been diagnosed “with a serious, fatal illness.”

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Lindstrom was born Feb. 12, 1961. The son of a bartender and a liquor salesman, he was raised in Portland, Ore. — which he and his family still called home.

He was the first member of his family to attend college, which he paid for by taking out student loans, landing work-study jobs and working summers in a salmon cannery in Cordova, Alaska. During a 2013 TEDx Talk, Lindstrom said that after he’d exhausted all the video production classes at Portland’s Lewis & Clark College, his professor Stuart Kaplan gave him a gift certificate to a class at the Northwest Film Center. There, Lindstrom made a short film about his grandpa that landed him a spot in the MFA program at Columbia University.

It was a train trip with his grandpa that inspired Lindstrom to tackle challenging topics with a lens that restored dignity to his subjects. His grandpa was a binge-drinker, and on day three of the trip, he woke up with a hangover and was missing his dentures. Lindstrom, only 5 at the time, noticed the way other passengers treated him and his grandpa differently.

“I think what my films are about is that search for my grandfather’s dentures, the humanizing narrative that bridges the gap between us and them and arrives at we,” he said.

Lindstrom said he returned to Portland after film school and “did several projects with the Northwest Film Center that had me putting a camera in the hands of kids on probation, homeless teens, newly recovering addicts, hard-hit people who had hard-hitting stories to share.”

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“Those projects taught me so much about the transformative power of art, and they gave me permission I felt in my personal films to ask people if I might follow them, so that an audience could better understand what they were going through, and by extension, better understand themselves,” he said.

Lindstrom’s 2007 award-winning cinéma-vérité-style film, “Finding Normal,” followed long-term drug addicts as they left prison or detox and tried to rebuild their lives with the help of a recovery mentor.

“What I’m most proud about is that ‘Finding Normal’ is the only film to ever be shown to inmates in solitary confinement at Oregon State Penitentiary, and not, I might add, as a punishment,” Lindstrom said.

In 2013, he released “Alien Boy: The Life and Death of James Chasse,” a documentary that illuminated the life of a man who grappled with schizophrenia and examined his death, which happened in police custody. Discussing the film with LA Progressive in 2018, Lindstrom said that he doesn’t make films for audiences.

“I make them for the people in the film. It is my small way of honoring them,” he told the outlet. “That doesn’t mean I don’t delve into dark areas or that I ignore that person’s struggles. I’m much more concerned with trying to achieve an honest depiction of that person’s life than I am with any potential audience reaction.”

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Lindstrom’s work aimed to inspire empathy and humanize those suffering in the margins of society, but it also catalyzed policy change. His acclaimed 2015 documentary, “Mothering Inside,” followed participants in the Family Preservation Project (FPP), an initiative helping incarnated moms establish and maintain bonds with their children.

Midway through filming the documentary, the Oregon Department of Corrections announced it planned to nix funding for the FPP. Lindstrom hosted early screenings of the film, which inspired grassroots advocacy that reached then-Gov. Kate Brown, who subsequently signed legislation that restored funding. The film’s release also helped make Oregon the first state in the U.S. to pass a bill of rights for children of incarcerated parents.

Partnering with Strayed, Lindstrom made the documentary short, “I Am Not Untouchable. I Just Have My Period,” for the New York Times in 2019. The film highlighted the experience of teen girls in Surkhet, Nepal, and the menstrual stigma they faced. Most recently, the filmmaker released, “Lost Angel: The Genius of Judee Sill,” which examined the folk-rock singer’s life from her traumatic childhood and drug-addled adolescence through her rise in the Laurel Canyon music scene and untimely death.

Lindstrom, discussing “Judee Sill” and his style as a filmmaker, told Oregon ArtsWatch, “It’s the chance to kind of focus on the question: What does it mean to be human? The person that the film is about, what can they teach us, what can we learn from them? What can they learn from themselves?”

In 2017, Lindstrom received the Civil Liberties Award from the American Civil Liberties Union of Oregon for his work advancing civil rights and liberties. That same year, he received the Distinguished Alumni Award from Lewis & Clark College.

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In Strayed’s post announcing Lindstrom’s death, she described their more than 30-year partnership as a stroke of “tremendous luck.”

“We loved each other and our kids with deep devotion and true delight. He was a stellar husband. He was the most magnificent dad. He was a man whose every word and deed was driven by kindness, compassion, and generosity,” she wrote. “He saw the goodness in everyone. He believed that we are all sacred and redeemable.

“His work as a documentary filmmaker was dedicated to telling stories of people who, as he put it, ‘society puts an X through.’ He erased that X with his camera and his astonishing heart.”

Strayed’s memoir — which followed her as she hiked 1,100 miles along the Pacific Crest Trail in the wake of her mother’s death, a battle with drug addiction and divorce from her first husband — concludes with a happy ending. She finished the months-long hike and sat on a white bench near the Bridge of the Gods, a stone’s throw from the spot where, she writes, she’d marry Lindstrom four years later.

“His greatest legacy is Carver and Bobbi, who embody everything good and true about their father. Their extraordinary grace, courage, and fortitude during this harrowing time was unfaltering and grounded in the undying love Brian poured into them every day of their lives,” she wrote. “We do not know how we will live without him. We’re utterly bereft. We can only walk this dark path and search for the beauty Brian knew was there. It will be his eternal light that guides us.”

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Review: 'Obsession' Ain't Half the Horror Movie It Thinks It Is

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Review: 'Obsession' Ain't Half the Horror Movie It Thinks It Is
Sometimes the instinct to just scribble down the words “Straight Nonsense” as an entire movie review and leave it at that runs extremely deep, and Curry Barker’s much ballyhooed horror hit-to-be Obsession, out in theaters this weekend, left exactly that…
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