No(thing) Staring Back

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.

No description available.

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

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

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

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

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

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.

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

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

Radical recurrences & rancorous requests raze my daze.

1 minute experimental film.

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