No(thing) Staring Back

1 minute experimental film.

Shadows frighten what one oughtn't be gripping (that thing before/hind you).

I really hope this is well-received. I really hope there's some sort of reprieve.

Rather pointless, rather stilted, fetid; not what we want us going after.

Radical recurrences & rancorous requests raze my daze.

Onward, upward, greener [redder] grasstures.

Return to 'burn' only to find out you're already in that urn.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.

Hiding inside&out, writhing about, taken out&in.

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.

From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.

As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.

Beyond all human restraint lies one's lugubrious layers of paint.

A psychedelic montage of home movie footage gives way to a silent western story.

Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.

Calangros: Um faroeste sobre o terceiro mundo

A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.

In the future, a second great flood covers most of the known world. Country borders collapse and language barrier disappear. All salvageable books are taken to a deep underground vault facility for protection. Run by priests, the facility is called The Stacks. As Olivia wanders the facility she discovers that she may not be alone and that a dark part of her past may have followed her into the narrow corridors of this inescapable purgatory.