I Might Be There (I Won't)

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

Radical recurrences & rancorous requests raze my daze.

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

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

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

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.

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

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

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

1 minute experimental film.

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

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

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.

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

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

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

This experimental nature documentary by Minna Rainio and Mark Roberts depicts climate change and the wave of extinction from the point of view of our near future. Actually, it depicts the age we live in now, or rather its fateful consequences.

A sinister montage intimates the hellish void facing a man emptying bottles by the river. Sandy Fisher’s densely reverberating electronic score provides strong support for Lloyd Williams’ cultic collage of skulls, chess boards and fire.