Casey Jane Ellison

In Comma Boat, we're stuck in a mock-authoritarian fantasy--a power trip. The film centers around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. As if a post-human, post-gendered reincarnation of the Fellini character in 8 ½, the director gloats and frets about professional and ethical transgressions. "I know I lied to get ahead," he admits at one point. "I've made up so many different alphabets just to get ahead in my field." The director is fancier now, but the fear nags that he might be "repeating" himself "like a dumb soldier ova and ova and ova and ova." The meta-connection to the artist's own career, while obvious, is also a decoy. All art, at some level, is about the artist. Here, reflexivity is the surface level, providing a decodable veneer that encases something more unsettling and complex. Single-channel and 3-channel versions.

The film focuses on the life of Jenny who has, according to many of the other characters, become too “left-of-center” while pursuing her interests.

Éclairé par un flux constant de messages, de directs et de profils de sites de rencontres, le joyau d’Eugene Kotlyarenko incarne l’ennui du millénaire avec une perspicacité troublante.

Dory, jeune femme timide et frustrée, apprend la disparition de Chantal, une ancienne camarade de classe. Elle part à sa recherche avec ses amis.

Dory, jeune femme timide et frustrée, apprend la disparition de Chantal, une ancienne camarade de classe. Elle part à sa recherche avec ses amis.

Dans les années 1800, l'adolescence de la poétesse Emily Dickinson et sa confrontation aux questions de genre et aux problèmes de société de son époque...

The crypt has nothing on the closet when Ally Beardsley and guests share terrifying tales from before they came out.