MAN, WOMAN, FILMComedy/Drama, 16mm color/black and white, 83 min, $38 000, English, USA. Director: Cameron Pearson (Debut) – Producers: Cameron Pearson & Henri Falconi – Cast: Ian Stevens, Lee Arenberg, Anel Lopez and special guest appearance by Cameron Diaz




Cameron DiazA self-absorbed young novelist is distracted from the political novel he’s writing by a rocky relationship with his ambitious young girlfriend, a budding pop star, and he drifts off into madness, ultimately retreating from the city. Boy meets girl. Boy loses girl. Boy loses mind.




MAN WOMAN FILM is already an intellectual cult hit and festival favorite, having played in over twenty international festivals. Immediately available.            


MAN WOMAN FILM is an international festival hit, no-budget, American independent. Not only is our film a refreshing antidote to Hollywood cinema regularity, it is also a valentine to French cinema. MAN WOMAN FILM a grassroots generated, very independent American production is both an homage and parody of French New Wave Cinema. Designed to look like a future 1964- an Alphaville, USA – and picture edited on a rented flatbed; this film echoes the early New Wave genre in aesthetic form, content, and tools of construction. Our film started out as a UCLA graduate student project that became a $35,000 "professional" feature.

While MAN WOMAN FILM is often a low rent comedy, it is also a stylized fantasy that creates a sometimes beautifully realized world that is neither 1964, nor 1999; rather: Alphaville, USA, population one. Moments of depth are treated with a similar flare to French New Wave Cinema, and a New Wave view of current American culture; both a nod to the historical influence of International cinema, and a promotion of independent, experimental, do-it-yourself, movie-making.

Already internationally renowned, MAN WOMAN FILM has now screened in festivals in Ankara (opening night selection, official world premiere), Berlin (IFP selection), Norway, L.A., Chicago, New York, Arizona, Amsterdam, Pittsburgh, Hungary, Estonia, Alexandria, Egypt and Figueira da Foz, Portugal, etc….

The film, recently shown at the Mar De La Plata Film Festival in Argentina (arguably the most respected film festival in Latin America) was voted by the press and critics as the seventh best film in the festival. MAN WOMAN FILM was not only the only American film in the top ten, but it beat out such films as Bertolucci’s "Besieged", "Boys Don’t Cry", "SLC Punk", Tim Roth’s "The War Zone", "Twin Falls, Idaho", and "Show Me Love".

We were in good company in the top ten with, for example, Zhang Yuan . best director 1999 Venice Int. Film Festival, whose film finished sixth. More recently the film has screened with "Amelie", "Before Night Falls", " O’ Brother Where Art Thou" and Mulholland Drive". Other movies "Man Women Film" has already competed with at film festivals include "Run Lola Run" and "Amores Perros". Join the thousands who have already seen this unique film.


  • Tromso International Film Festival (Norway, 1.29,31.99)

  • European Film Market, IFP Booth (Berlin, 2.12-15.99)

  • Arizona International Film Festival (Tucson, 4.16.99)

  • Ankara International Film Festival (Turkey, 5.1,2,8,9.99) Official World Premiere

  • Chicago Alternative Film Festival (6.12.99)

  • Los Angeles: Industry, Cast and Crew screening (7.27.99)

  • B Movie Film Festival (Syracuse, N.Y., 8.29.99)

  • Alexandria International Film Festival (Egypt, 9.17.99)

  • Figueira Da Foz International Film Festival (Portugal, 9.10.99)

  • Independent Feature Film Market (New York, 9.17-24.99)

  • Three Rivers Film Festival (Pittsburgh, 11.16,18.99)

  • Mar del Plata International Film Festival (Argentina, 11.18,24.99)

  • New York International Independent Film and Video Festival (New York, 2.10.00)

  • Mediawave International Festival of Visual Arts (Gyor, Hungary,4.28,29.00)

  • Cannes Market / Marche du Film (France, 5.10-21.00)

  • 34th BAC International Film and Video Festival (Brooklyn, N.Y., 6.7.00)

  • Cinestud International Sudent Film Festival (Amsterdam, Netherlands, 11.20.00)

  • Texas International Film Festival (College Station, TX., 2.16.01)

  • Black Nights Film Festival (Tallinn, Estonia 12.2-9.01)



In The End Only One Can Be Left Standing

A parody of French New Wave Cinema in which boy meets girl, boy loses girl, boy loses mind.

starring:Lee Arenberg, Ian Stevens, Anel Lopez and Cameron Diaz as "a random celebrity.

Written, produced and directed by Cameron Pearson

Man Woman Film



Documentary Feature


Synopsis:  An old woman dies a slow, painful, claustrophobic death forgetten about by everyone but her 65 year-old spinster daughter.  I film them as they suffer together, as they suffer alone, as they make each other suffer, as they make me suffer and as I make them suffer while I film.  I, the grandson, the son, the film-maker, the prodigal abyss.  Me, them, us, the dimensions of a 90 year-old grandmother's cell.  As the Parkinson's shuts down her circuits and I watch her lights go out, she reaches out to me but I am not there.  There is nothing I can do for her, so I do nothing.  I film.  I help her piss.  I do not feel.  I do not react.  Rather, I only react.  I take no action.  She grows numb and soon she will be as numb as I am.  Finally, the old woman dies.  It is all very hilarious.

CRAZY LIKE THEY ARE is the story of an American family when the film-maker's grandmother, Elizabeth Grossklaus, comes to live with his mother, Sharon Pearson, for the last four years of her life.  The obtrusive documentary film-making style casts a cold, graphic eye on the aging process and shows the film-maker/grandson to be ambivalent towards those he should hold dear.

The story deals with the psychological patterns that had developed among the three of them over the course of life and the impact of those patterns on their lives as Elizabeth's draws to a close.  The film is a poignant examination of the sacrifices we make for each other and the lack of deep personal connections that sometimes cripple our efforts at intimacy.

CRAZY LIKE THEY ARE depicts the decline of two people.  Elizabeth deteriorates physically and mentally with illness and age while Cameron falls into a lifestyle of immature self-involvement and narcissistic delusions, finally attempting to redeem himself through his art.  Will cinema be powerful enough to overcome the years of emotional separation and spiritual neglect?

Director's Notes:  CRAZY LIKE THEY ARE is a documentary about the decline and death of my grandmother, Elizabeth Grossklaus.  She died of old age and Parkinson's shortly after turning 90 years-old.  The story is that of the relationship between my dying grandmother, my mother and myself.  Some of the scenes are graphic depictions of the helplessness of old age.  They are not meant to be cruel, but rather to reveal truth.  This film concerns itself with the plight of the elderly and my own less-than-perfect response to it.  Like many Americans, I did not give my grandparents the attention I could have in the later years of their lives.

This film is an attempt to explore my indifference, ambivalence and lack of compassion.  My character functions as a stand-in for all of us and is indicative of society.  There is a black humor that underlies the narrative.  The laughs are not light, however, and the subject matter is extremely personal and serious.

When I first screened dailies of this already controversial movie, I was attacked for my cruelty by fellow students at UCLA Film School.  This film is a stark representation of a somewhat "dysfunctional" relationship being tested by the most stressful and depressing of situations; a naked vision of approaching death and crippling deterioration that expresses a deep strain of alienation within a family unit.  The story paints a portrait of a dedicated, but exasperated daughter, approaching 70, living with her 90 year-old mother who is slowly becoming a vegetable.  I serve as the narrator, dropping in to visit, inquisition and record.

Ultimately, the film is about my search for meaning in my own life and my attempts to love and reconnect with my family and myself.  While the movie is a black comedy, it is not a heartless, irresponsible gesture on my part but a serious attempt to exercise these demons through personal film making.  I have been chronicling my grandmother's demise for many years, since 1990, and the film is structured around me editing the story together in 2001, putting the pieces and clips together of the film and of my life, creating my story.  The themes of this film are ultimately not of alienation, nausea, aging and death but discovery and redemption.

It is necessary to recreate the daily reality in its slow motion dance of agony and endurance Elizabeth resolutely went through day after day.  Through my peculiar perspective, this film is an homage and memorial to my grandmother as a proxy for all things positive in the process of film making and life itself: art is a redemptive process.


Producers Note:  This documentary is a historical film.  For the first time, we see a product of the coming revolution is movie making.  The personal expressions made possible by today's sophisticated and inexpensive technologies make a new world of cinema accessible to us.  The cinema of ourselves, the personal film making of Godard and Truffaut taken one step further.  The first motion picture document of our generation's decline, through the objective eyes of one person.  CRAZY LIKE THEY ARE is the harbinger of a thousand hand-made masterpieces.  In the coming years, as a new wave of cinematic cries appear in the wilderness, we will never look at cinema -- or ourselves -- the same way again.

Crazy Like They Are




16 mm, color, 16 min, English, USA
Director: Cameron Pearson – Producers: Cameron Pearson & James Azarela – Cast: Chuck Wall, Chris Travis

An existential black comedy that prominently features crisp, philosophical human conversation in the same dark fashion as Naked, Withnail and I, and other edgy, verbal English classics. In this subtle film a philosophical young drifter meets a ten-year-old boy in a deserted urban mausoleum.. Buildings, cars, anesthesia: it’s the air-conditioned nightmare.



16 mm black and white, 8 min, English, USA
Director: Cameron Pearson – Producer: Cameron Pearson

The story of a cameraman who becomes overwhelmed with the desperate humanity he films on the streets of New York. Eventually, giving up his art and falling into a silent world. The actors are real people on the streets of N.Y. This experimental film explores archetypes from the city's deep unconscious. Told in a documentary style, this film is a tribute to Dziga Vertov and Jacob Riis.



16 mm black and white, 8 min, English, USA
Director: Cameron Pearson – Producer: Cameron Pearson
Cast: Henoch Ben Kalman

An extremely black comedy about the last day in the life of a drug-dealing, gangster, orthodox Jew. In 1992 a landmark film, Abel Ferarra’s The Bad Lieutenant, blistered America’s screens with a shocking expose of corruption at the highest levels of public responsibility and civic obligation. This continued betrayal of the people by their most trusted protectors is the subject of our film.

Official selection Raindance Film Festival 2001



16 mm, color. 7.5min, English, USA
Director: Cameron Pearson – Producer: Cameron Pearson
Cast: Chuck Wall, Todd Simmons

During a brutal boxing match, a mediocre boxer struggles with his own incompetence amidst lurid hallucinations, delusions of grandeur and crushing shots to the kidneys.

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