No(thing) Staring Back

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

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.

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.

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.

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.

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

Onward, upward, greener [redder] grasstures.

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

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

Calangros: Um faroeste sobre o terceiro mundo

1 minute experimental film.

Radical recurrences & rancorous requests raze my daze.

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

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

Bear (10 minutes, 35 seconds) was Steve McQueen's first major film. Although not an overtly political work, for many viewers it raises sensitive issues about race, homoeroticism and violence. It depicts two naked men – one of whom is the artist – tussling and teasing one another in an encounter which shifts between tenderness and aggression. The film is silent but a series of stares, glances and winks between the protagonists creates an optical language of flirtation and threat.

A divorced journalist Marko Požgaj starts his working day by taking his son to the school. During the day many thoughts and images pass through his mind - the memories of childhood, ex-wife, current girlfriend, but mostly his father who died in a war.