Guerilla Filmfare: An Introduction

Written by James Bunn


Guerilla Filmfare: a form of irregular filmmaking in which a small group of creatives, such as amateur directors, first time screenwriters, unknown actors/non-actors, et cetera, use low budget, do-it-yourself production techniques, and word-of-mouth marketing, to create and release films without the backing of traditional industry resources.

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In a time where nine-figure blockbusters, high cost computer animations, and mildly expensive arthouse affairs are the norm, the average viewer could assume that having millions of dollars at one’s disposal is an absolute requirement, when producing a film.  The advent of digital technology, in the past few decades however, has made the barrier of entry into the world of filmmaking almost non-existent. With the cost of digital filmmaking equipment consistently decreasing over the years, any and every one can become a filmmaker if they so choose. Even before the digital revolution, with careful planning and execution, a variety of filmmakers were shooting low budget projects on celluloid. In the realm of "no budget film", limited resources are more often than not, superseded by unlimited creativity.

Unbeknownst to the average film viewer, some of cinema's most critically celebrated and commercially successful directors kickstarted their career with debuts made for, when compared to Hollywood budgets, pocket change. Robert Rodriguez famously made his debut, 1992’s El Mariachi, for a minuscule seven thousand dollars and no crew. The film was so well produced, Columbia Pictures not only contracted him to make a remake/sequel (1995’s Desperado), they also decided to pick up El Mariachi itself for distribution. Following the exact same budget figure, Shane Carruth produced the 2004 cult time travel classic Primer. The micro-budget masterwork is often lauded, by critics and fans alike, as being one of the most groundbreaking entries in science fiction since Kubrick’s 2001: A Space Odyssey. Even Christopher Nolan, known for high budget art house blockbusters (ie. Inception, Interstellar, Tenet, et cetera), got his start by way of no budget filmmaking. His 1998 debut Following was made for six thousand dollars, and is a mini-masterclass on non-linear neo-noir: a style Nolan would continue to perfect throughout his career to present day.

Many others, including the likes of Spike Lee, Gus Van Sant, Darren Aronofsky, and others, all got their start by crafting works that, despite limited resources, had unlimited vision. The true beauty of these works comes from the uninhibited uniqueness and freedom that comes from working without systemic interference. Oftentimes, these humble beginnings are cited as being among the best work in a director’s filmography.

In this series, each article will take a look at a film (or multiple films depending on the subject),, that was made “Guerilla Style”. Aside from a brief overview of the film itself, the discussion will mainly be geared towards history of production, budget breakdowns (if available), release strategies, critical reception, and career trajectory after release (this applies for anyone involved, not just the director). While being low budget is the common denominator for most of said subjects, the only true rule for each article is that none of the films discussed  have been produced in collaboration with a major studio or notable independent studio. That means despite being made for six million, Tommy Wiseau’s The Room may be featured because it was made with his own cash alone. The purpose of Guerilla Filmfare is not only to educate readers on the significance and importance of low budget filmmaking, but to also inspire aspiring creatives to go out and make their own films despite a lack of resources.

“Low budgets force you to be more creative. Sometimes, with too much money, time and equipment, you can overthink. My way, you can use your gut instincts.”

-Robert Rodriguez

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James Bunn is a content creator with a passion for 70's cinema, low budget indie flicks and the filmmaking process. He hopes to, one day, transition from appreciating films to making his own. He currently releases music under the alias Boutique Paul and is a host, composer, and sound engineer for The K Cut and Prefer Not To Say Podcast.