I Might Be There (I Won't)

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

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.

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

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

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

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

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

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

1 minute experimental film.

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

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

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

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

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

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

Radical recurrences & rancorous requests raze my daze.

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.

Calangros: Um faroeste sobre o terceiro mundo

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.

SONG 1: Portrait of a lady (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).