FUNHOUSE
THE PRINCE OF LOVE
PREMIERE + INTERVIEW WITH WHITNEY MALLETT, 2015
Fall 2016
‘Feature-length surveillance film
Premiered by Editorial Mag
THE PRINCE OF LOVE is a feature-length experimental documentary. The film intimately follows two lovers in Seattle over the span of fourteen months, blurring the line between surveillance and performance. Soundtracked by manipulated pop music, the film acknowledges and fractures the romantic space between the real life couple and 8mm tape camcorder.
5 Year Anniversary Tribute Post [2021] -> Here
(words by Whitney Mallett, Editorial Mag)
“Choe captures the beauty of the Pacific Northwest as well as a certain post-high school angst. Just like Jeff and Erica are not quite teens but not quite grownups, the film is not exactly fiction or documentary. The flatness of the melodramatic acting in certain scenes is unsettlingly juxtaposed with the unfakable intimacy of others.
Throughout, conventions and expectations are pandered to and then turned inside out. A few times, Jeff breaks the fourth wall. At one point, he’s walking along the train tracks in a leather jacket with a guitar case in hand, talking to Choe behind the camera, “I wish you had done this film with preppy high school kids, dressed them up, and have them walk down the train tracks. Made some edgy teen flick.” Choe answers without missing a beat, “That’s what I did.”
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Fall 2016
‘Feature-length surveillance film
Premiered by Editorial Mag
THE PRINCE OF LOVE is a feature-length experimental documentary. The film intimately follows two lovers in Seattle over the span of fourteen months, blurring the line between surveillance and performance. Soundtracked by manipulated pop music, the film acknowledges and fractures the romantic space between the real life couple and 8mm tape camcorder.
5 Year Anniversary Tribute Post [2021] -> Here
(words by Whitney Mallett, Editorial Mag)
“Choe captures the beauty of the Pacific Northwest as well as a certain post-high school angst. Just like Jeff and Erica are not quite teens but not quite grownups, the film is not exactly fiction or documentary. The flatness of the melodramatic acting in certain scenes is unsettlingly juxtaposed with the unfakable intimacy of others.
Throughout, conventions and expectations are pandered to and then turned inside out. A few times, Jeff breaks the fourth wall. At one point, he’s walking along the train tracks in a leather jacket with a guitar case in hand, talking to Choe behind the camera, “I wish you had done this film with preppy high school kids, dressed them up, and have them walk down the train tracks. Made some edgy teen flick.” Choe answers without missing a beat, “That’s what I did.”
