Firing Flares @ Unnoticed Glares

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

1 minute experimental film.

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

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

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.

Onward, upward, greener [redder] grasstures.

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.

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

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

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

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

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

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.

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

Radical recurrences & rancorous requests raze my daze.

Calangros: Um faroeste sobre o terceiro mundo

His Oriental predator is at first clothed in black, her 'victim' in white; slowly the costumes change, the victim acquiring a veil of mourning, until finally - as if to underline the ambiguity and interchangeability of their respective roles - the colours are reversed altogether. Still more interesting is the way in which, as the game becomes more ambiguous, Dwoskin adds fresh layers of make-up to his characters' faces, until they become almost caricature masks of their original selves.

Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.