Rachel Lord

When Eugene’s ex-GF Katelyn lands in LA to disband their business, the two of them must negotiate between past tensions and future possibilities, in this raw bittersweet rom-com that walks the line between fiction and reality.

Following a humiliating job search, Gabe looks set for success after answering an online recruitment ad. He soon finds himself on a bizarre cross-country odyssey filled with strange signs and symbols, seedy hotel rooms, dead prostitutes, and possibly extraterrestrial garbage men. Can Gabe put the pieces together and maintain his composure, or will he stay a victim of his own neuroses? And just who are Gabe’s seemingly otherworldly employers, and how much of his own mysterious past will affect his future?

The film focuses on the life of Jenny who has, according to many of the other characters, become too “left-of-center” while pursuing her interests.

In Comma Boat, we're stuck in a mock-authoritarian fantasy--a power trip. The film centers around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. As if a post-human, post-gendered reincarnation of the Fellini character in 8 ½, the director gloats and frets about professional and ethical transgressions. "I know I lied to get ahead," he admits at one point. "I've made up so many different alphabets just to get ahead in my field." The director is fancier now, but the fear nags that he might be "repeating" himself "like a dumb soldier ova and ova and ova and ova." The meta-connection to the artist's own career, while obvious, is also a decoy. All art, at some level, is about the artist. Here, reflexivity is the surface level, providing a decodable veneer that encases something more unsettling and complex. Single-channel and 3-channel versions.

Roamie View: History Enhancement reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood's (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present.

In Item Falls, we are peaking. We start out at a casting call, but before long we're firmly in the grip of hallucination, shedding our anxieties and evidently regressing to the animation era, a time when stunt chickens were mere chicklets. Friendly archetypes float in and out of what seems like our bedroom. The red-headed Jenny has returned, but this time she's squeaky and trusting. Unlike in Center Jenny, here our perspective is literally centered. The camera seems to be the in middle of the room, which is good, because we're too blissed out to move. Luckily, our hallucinations look directly at us.

Having been sold by her family to be the bride of a controlling billionaire, Actually searches for a way out.