Meanwhile, Sensacine's Alejandro G. Calvo interviewed Vigalondo a couple of weeks ago, mentioning that with Open Windows, there is a lot of talk about Alfred Hitchcock, "but the truth is that [it] has a lot of Brian De Palma. Blow Out, of course, but also Redacted."

To which Vigalondo responded, "Well, Blow Out is my favorite De Palma film. That is a reference with which I feel very comfortable. I think he's a very ambitious, but at the same time, very human filmmaker. His films have both virtuosity and weaknesses, all wonderful. I feel much more comfortable with De Palma with Hitchcock, as I name them. If you allow it to be tagged as such, it is a beast of an ambition that seems an unattainable task. Then people write things like "this guy is trying to be the Hitchcock of the 21st Century" and, well, I do not mean anything! They are the ones who have written it! (laughs). So I prefer to think about De Palma, someone who I see as like family."

The full episode can be viewed at FOX.com.

Sam Cohen, Under The Gun Review
"There are even some sly winks at filmmakers like Michael Bay and Brian De Palma through the film’s multitude of comedic set pieces. The film begins with a shot that pans in over Schmidt and Jenko conversing on the top of a parking garage with the sunset in the background. Naturally, some stakes-raising music along with a complimentary lens flare occupy the sequence as an almost direct stab at the generic Hollywood blockbuster aesthetic. That’s the best part about 22 Jump Street, it knows what films to make fun of it but it invites you to be a part of the joke as the viewer."

The press release states, "For the past two decades, Dellsperger has developed a vast, nearly overwhelming body of work, titled Body Double after Brian De Palma’s psycho-sexual thriller of the same name. The oeuvre consists of thirty video works, investigations into the conceptual, social and formal tropes that inform cinema and spectatorship. Both reverent and destructive towards his source material, the artist’s practice voraciously cannibalizes and digests iconic moments in film. The resultant works are arresting, both viscerally affecting and deeply cerebral, heavily informed by film and queer theory.

"The act of doubling is among the work’s central conceits; contending not only with issues of material and visual replication, but also with the duplicative nature of film itself. Dellsperger elaborately reproduces famous movies with varying degrees of loyalty to the original texts. He most often casts just one or two actors, most often himself or the artist Jean-Luc Verna made up as women, in all roles. Certain elements – narrative chronology, characters’ original gender identities – are frequently abandoned, while others – score, dialogue – remain intact. Each artwork is the drag-queen doppelganger of its source: a dedicatedly faithful and wholly recognizable copy, but one that is forthcoming with its artificiality.

"The content and the title are direct references to Brian De Palma, specifically to the titular 1984 film, which skewers Hollywood through a depiction of its underworld double – the porn industry. The title Body Double refers simultaneously to this original source material, the artist’s use of surrogate actors and to De Palma's own repeated use of three films by Alfred Hitchcock, Rear Window, Vertigo, and Psycho, as blueprints to build upon. Dellsperger’s similarly imitative works are complex and unending mirrors, reflecting their own reflections ad infinitum. He rejects the notion of artist as demiurge; the act of reframing pre-existing materialfunctions crucially and visibly at every level of his art.

"The works subvert the straightforward readings of sexual identity we expect when we go to the movies. For example, a scene from De Palma’s Dressed to Kill is re-enacted by the artist dressed as a woman, portraying both halves of a heterosexual couple. The original sequence relies on ambiguity: the viewer derives excitement from her confusion as to who is following whom. The Body Double version creates a secondary queer narrative of lust and narcissistic abandon, while also leaving the original power of De Palma’s film intact. Dellsperger’s piece also acts as a metaphor for the mimetic relationship between film and life – the 'chase scene' that takes the cinematic and the real as its ever-trysting protagonists.

"The gallery will show all thirty extant works from the series. The program changes weekly, repeating itself mid-way through the exhibition to give viewers several chances to view all the pieces. Our Grand Street space will show one video each week as a large-scale single channel projection. The Wooster Street space will be treated as something of a lab, in which five monitors display single-channel pieces, while a triptych of flat screens exhibit Dellsperger’s multiple-channel films. Many of these works have never been screened in New York. Among the texts re-interpreted by the artist are those of such vaunted auteurs as Kubrick, Anger, Lynch, Zulawski, Hitchcock and Fassbinder; lesser-respected works chosen by Dellsperger for their pop cultural power (Saturday Night Fever, Return of the Jedi and Flash Gordon among them) and, of course, many troublesome, still controversial scenes from the work of De Palma."

The Team Gallery website also features PDF's of print reviews of Dellsperger's works, including this recent article by Mara Hoberman from a recent issue of ArtForum.

Username: Carmen won Lehnhoff the top prize in the contest in Lille, France. The film is in French, with no subtitles, but you can follow it if you know it involves a guy (a student) who has an essay due the next day about the place of opera in today's music. Desperate, he finds a forum of opera lovers and asks them for help.

Thinking he's being clever while his girlfriend is in the shower, he uses the name "Carmen" as his user name, but finds that the forum is full of horny guys who only want to help "her" if he shares a picture-- he's about to tell them he's sorry, but he is a guy, but they insist on the pic as the only way they'll help "her," so he posts a pic of his girlfriend. After they go gaga over how "pretty" she is, etc., etc., the student gets ticked off by the whole thing, resulting in a hilarious act of rage, which his girlfriend walks in on at the end.

Aside from the above nod to Dressed To Kill, Romain also threw in a "quote" from De Palma's Mission: Impossible -- when the student types in his password, you'll see that the password is "JOB314."