Firing Flares @ Unnoticed Glares

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

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

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

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

1 minute experimental film.

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.

Onward, upward, greener [redder] grasstures.

Radical recurrences & rancorous requests raze my daze.

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

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.

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

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

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.

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

On the Clickity-clack Express it's clear I'm always under duress, unless I forget.

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

Calangros: Um faroeste sobre o terceiro mundo

Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound, finds the personalities of his characters to have a timeless universality.

With input from actor and writer Jan Hlobil, director and cinematographer Rene Smaal presents a film in the true surrealist tradition, in the sense that only 'found' elements were used, and that it defies interpretation based on ordinary cause-and-effect time sequence.