Garland Hunter

Aura revient auprès de ses parents à Tribeca, sa ville natale, après l'échec d'une relation sentimentale et de ses études cinématographiques. Sans savoir quoi faire, elle prend un travail de serveuse dans un restaurant, entretient des relations bancales avec des hommes égocentriques, et tente bien que mal de se définir.

A man's journey to win back his former love forces him to confront a past of emotional immaturity, drinking, and thwarted artistic ambitions.

Convicted murderer Mark Trex escapes from an asylum and heads to New York City believing that his favorite band's occult hit song, which told of Satan and death, is true.

Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects—such as a house, birthday cake, and pistol—balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn ("Personal Velocity") and cameraman Ed Lachman ("The Virgin Suicides" and "Far From Heaven"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.