Stephanie Barber’s movie DAREDEVILS (2013, premiering at the NY Film Festival next Thursday) is—among the many things that it is—a feature length narrative, and in itself an act of daredevilry. It is not an experimental film—that is, it doesn’t have much in common with the “traditional experimental film”—and it is a “movie” in the sense that it contains character development, relationships, dialogue, recognizable images, movement, music, and storytelling. The traditional three-act structure, however, is rearranged, subverted, and therefore not present to comfort you, and what’s more, the story demands your participation—and a rather rigorous participation. Like all stories, this one is a mystery, and you might say the involvement of the viewer in this story is similar to the mystery in which the audience sets out to solve the mystery. If reading the clues presented here will lessen your enjoyment of the movie, you know who you are and should stop reading now. Otherwise, read on. READ MORE >