Hope This Goes Over Well/Living in an Empty World

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

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

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

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.

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.

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

Onward, upward, greener [redder] grasstures.

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

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

1 minute experimental film.

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

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

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.

Radical recurrences & rancorous requests raze my daze.

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

Calangros: Um faroeste sobre o terceiro mundo

Hermitage, defined by Bene as "a rehearsal for lenses", beyond any literal rendition - its narrative trace comes from one of his anti-novels, Credito Italiano V.E.R.D.I - displays his immediate attitude to thinking a cinematic language completely based on actor's movements and actions, and more specifically, on his presence and his schemes. Camouflaged or naked, still or moving, his body seems to play and be played at the same time, shifted by objective and subjective tensions, both metaphorically and visually speaking.

A Hollywood actor grows tired of making the same corporate movies, so he moves to Argentina to find more experimental and meaningful work.