I Might Be There (I Won't)

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

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

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

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

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

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.

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.

1 minute experimental film.

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.

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

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

Radical recurrences & rancorous requests raze my daze.

Calangros: Um faroeste sobre o terceiro mundo

Poetic sci-fi film as an homage to Cinema, Cocteau, Goodis and to American B-series of the 1940s. Constructed exclusively on photograms in black and white and freely inspired on Jean-Luc Godard's Alphaville.

Christened for the Greek mythological personification of human memory, MNEMOSYNE, MOTHER OF MUSES is Larry Gottheim's facsimile edition of how one reflects on life and experiences (namely, in flashes and excerpts of sound and imagery). Typically known for his avant-garde, single-shot meditations on nature, Gottheim here provides a palindromic quotation of his own memories, including street corners, movie quotes, family members and Johnny Hartman tunes.