I Might Be There (I Won't)

Radical recurrences & rancorous requests raze my daze.

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.

(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.

Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.

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

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

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

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

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.

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

1 minute experimental film.

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

Calangros: Um faroeste sobre o terceiro mundo

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.

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

Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.

This experimental dance film employs a bastardized version of the 1930s three strip Technicolor process. Shot entirely on black and white film through color filters, the images were recombined into full color through optical printing techniques, one frame at a time. The gestures in this dance work explore the psychological fracturing and reunification in representations of the female body.