Zachary Oberzan’s Flooding with Love for the Kid – an adaptation of David Morrell’s book First Blood, made for $96 and with every part played by Oberzan – somehow transcends the befuddlement inspired by its production process, becoming a legitimately thrilling, always coherent, almost incomprehensibly ambitious film that works as both a plain narrative and a self-aware artistic statement.
Oberzan clearly needed to create this – the nightmarish logistics required must have necessitated a ridiculously powerful drive. As such, it is a testament to the power of personal expression, bringing a sense of authenticity to a piece wherein the artifice is continually brought to the forefront by its insane budgetary limits. This is a film about what it means to truly give oneself to a cause – whether that be art, revenge, love – and how logic and emotion can be at odds, dividing and burdening the mind.
Flooding with Love for the Kid is a poignant statement of purpose, it is a daring piece of outsider art, it is a logistical circus, it is a gripping thriller, and it is proof that money means nothing to a man with something to say.