Getting Go: The Go Doc Project, 2013. An experimental drama film. Written and directed by Cory Krueckeberg. Starring Tanner Cohen and Matthew Camp.
The film follows college student and vlogger Doc who has developed an obsession with a well-known NYC go-go dancer, nicknamed Go, he decides to try and befriend his crush. Using the excuse of filming a movie about Go’s life, Doc soon finds himself getting closer and closer to his object of affection.
The film marks the directorial debut of Cory Krueckeberg, who described the film as a ‘no budget experiment’ in reaction to the industry red tape that can bog down a film getting made. An accurate description perhaps, though one that does a disservice to the end product. It may have been made on a shoestring budget, but Getting Go is a wonderful addition to the notoriously patchy LGBT cinema strand.
If viewers aren’t thrown by the fairly explicit opening scene, then they are ultimately in for an unexpected treat. Exploring the obsessive portraiture filmmaking Andy Warhol invented with Eat, Kiss and Sleep – something we see Doc studying and subsequently replicating with Go – Getting Go is an unusual but highly enjoyable exploration of two very different characters who are eventually drawn to each other, but under the lens of a very 21st century voyeuristic setting.
(On a personal note - Krueckeberg’s use of iPhone cameras and webcams may have been part-driven by a lack of funding, but it also ensures the believability of the story. Furthermore, it fosters an overall feeling of intense voyeurism and intimacy, a fact undoubtedly magnified by the film’s cast basically consisting of just Camp and Cohen. The film’s open narrative and uncontrived dialogue is mirrored by Camp and Cohen’s naturalistic performances. Camp in particular is superb as the vulnerable hunk, whose initial flirtatious bravado subsides to reveal an intelligent and sensitive side, as he opens up to Cohen’s Doc while making the documentary – very impressive bearing in mind that this is Camp’s first foray into acting. Meanwhile, Cohen brings a warmth and endearing quality to Doc that, considering the potentially creepy interpretation of his actions, could easily have been portrayed poorly by a less competent actor. Casting is always important, but all the more so when there are so few characters involved. What a little gem of LGBT cinema.)