To be able to shade the moments in between with the kind of alternating bewilderment, exasperation, and resignation that marks Lisa’s rocky road to reclaiming her own work (and body and life) is proof of a skillset that few other actresses would be able to bring. The sheer physicality of Lisa’s trials - some pain meted out in otherworldly forms and still more in ways frighteningly real - are tall enough a task.
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The whole thing doesn’t come into focus until well after things in Lisa’s life begin to spiral, and there’s a tactile nature to what’s in those few minutes that gets mirrored in these eight episodes’ most unforgettable sequences.Īfter “Undone” (a 2018 Amazon Prime Video gem ripe for discovery in its own right for those who haven’t caught it yet), “Brand New Cherry Flavor” marks yet another series Salazar is able to carry, even through some taxing performance demands. Yet it’s haunting in its own right, in a way that shows the power Lisa has over everyone who stands in her way, even when she’s not in the room. Unspooled in snippets throughout the series, it’s recognizably a student film, the kind of work conjured after a steady diet of Maria Falconetti, Cindy Sherman, and Luis Buñuel. Lisa’s short has to be this tractor beam of an artistic object, luring in big-shot producers and above-the-title talent. Still, when the show needs to be specific, it does so with skill.
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It isn’t an all-encompassing world on display in “Brand New Cherry Flavor.” Before long, this metaphysical tug-of-war draws in a movie megastar (Jeff Ward), though his presence is less about establishing any fictional on-screen talents than setting him up as a willing accomplice. Credit also to DP Celiana Cárdenas, whose camera never moves along the same plane twice, taking in as much of this world’s detail as possible without taking focus away from the key developments happening within the frame.
Pilot director Arkasha Stevenson (another “Channel Zero” alum) and the rest of the season’s directors (Gandja Monteiro, Matt Sobel, Jake Schreier, and Antosca) each offer their own ever-so-distinct takes, each insidious in their own way and bathed in a lava-lamp rainbow palette that drives home the dreamlike feel of this particular rabbit hole. Whether by shades of degrees or through a kilowatt jolt of nervous energy, “Brand New Cherry Flavor” feasts on the insecurities of both character and viewer, even as it veers toward a brewing showdown that covers far more than rights of first refusal. In addition to these projects, Greg also edited the critically acclaimed political drama, The Report.In the process, few series this year prove as adept at translating stress into visual form. Prior to Brand New Cherry Flavor, O’Bryant and Antosca would join forces once again on Hulu’s original series, The Act.
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This would not be the first anthology series where O’Bryant would lend his editorial talents, as he also worked on the tv adaptation of Steven Soderbergh’s The Girlfriend Experience. GREG O’BRYANTīrand New Cherry Flavor editor, Greg O’Bryant first began his partnership with Nick Antosca on Channel Zero, a SyFy Channel anthology series based on the popular Internet “Creepypastas” Candle Cove, The No-End House and Butcher’s Block.
The result is an 8-episode series that almost defies description, but here’s how Netflix describes it anyway.Ī filmmaker heads to Hollywood in the early ’90s to make her movie but tumbles down a hallucinatory rabbit hole of sex, magic, revenge - and kittens.Īs accurate a description as that is, it doesn’t even scratch the surface of what Greg and his friends created for the streaming giant. Brand New Cherry Flavor editor, Greg O’Bryant told his frequent collaborator, and B.N.C.F. show runner, Nick Antosca that he couldn’t believe that any studio would back a series based on Todd Grimson’s 1996 book of the same name but if any did, Greg was “all in”.
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