Neo-Neo Realism at New York magazine. From the article:
"Ballast is an example of what I call windshield realism, in which the camera stares out through a smudged car window (sometimes the wipers are going) as the barren landscape goes by — meant to convey the barrenness of the working-class characters’ lives. This should not be confused with stalled windshield realism, which defined the plight of Wendy in Wendy and Lucy; windshield transcendentalism, which Gus Van Sant employed in the endless overture to Gerry; or windshield blowhard egotism, which you’ll find in Vincent Gallo’s The Brown Bunny."
Read the rest of the article at New York magazine.
Thanks goes out to The Daily for the link.