Tyler Macri

A woman and her ex-boyfriend reconnect at the vet after their dog gets sick, as a new boyfriend experiences jealousy. “WILK,” directed by Peg, is an experimental comedy with its own absurd cinematic language and esoteric scene-building. Joseph watches from the car as his girlfriend, Tallie, is consoled by her ex outside the vet (while Joseph’s car has a penis spray-painted on it). Later at home, Joseph still feels antsy about Tallie’s reconnection with her ex, as he’s offered a glass of ‘WILK’ (wine+milk) soon claimed by Tallie’s roommate, an eccentric music producer. Having learned what the titular WILK means, we can now cut to a boxing match between a milk mascot and a wine mascot while a hip hop track plays. Delivered as a medley of bizarre shifts and barely discernible story beats, the film is intriguingly chaotic and one-of-a-kind.

After 30 years of homelessness and busking, 71-year-old musician Susan Schneider (otherwise known as “The Space Lady”) is beginning to receive notoriety for her early contributions to electronic pop music, largely thanks to online word of mouth. Sophia Feuer’s film brings to light sensory, observational details from The Space Lady’s present life in rural Colorado—namely, her struggle to reclaim the music from the pain that encompasses it—while reflecting on her past.

Jenny Secoma is an exorcist with not enough jobs, too many bills, and a liver that could use a day off. She’s not feeling too well at the moment. Paranoia and terror hound her at every corner. Sleepless nights, restless days, and the incessant pressure of an unceasing gaze. Something… or someone… is watching her. What could it be?

A woman and her ex-boyfriend reconnect at the vet after their dog gets sick, as a new boyfriend experiences jealousy. “WILK,” directed by Peg, is an experimental comedy with its own absurd cinematic language and esoteric scene-building. Joseph watches from the car as his girlfriend, Tallie, is consoled by her ex outside the vet (while Joseph’s car has a penis spray-painted on it). Later at home, Joseph still feels antsy about Tallie’s reconnection with her ex, as he’s offered a glass of ‘WILK’ (wine+milk) soon claimed by Tallie’s roommate, an eccentric music producer. Having learned what the titular WILK means, we can now cut to a boxing match between a milk mascot and a wine mascot while a hip hop track plays. Delivered as a medley of bizarre shifts and barely discernible story beats, the film is intriguingly chaotic and one-of-a-kind.

Concerning three groups of children from disparate upbringings, A Black Hole is a Black Hole in the Ground intimately depicts the strange, ephemeral realities that arise on evenings of play, when dimensions of space and time, not fully cemented by adulthood, begin to dissolve. Parking lots, hen houses, and brownstone apartments become the dwellings of many strange creatures; coyotes are rendered forest spirits, neighbors as martians, and night crawlers as flesh-eating meteorite worms. Employing sci-fi, documentary and ethnography techniques, a state of mind particular to early youth is sublimated - weight is lent to shadows as vast as space, ripe with discoveries both minuscule and immense.

Concerning three groups of children from disparate upbringings, A Black Hole is a Black Hole in the Ground intimately depicts the strange, ephemeral realities that arise on evenings of play, when dimensions of space and time, not fully cemented by adulthood, begin to dissolve. Parking lots, hen houses, and brownstone apartments become the dwellings of many strange creatures; coyotes are rendered forest spirits, neighbors as martians, and night crawlers as flesh-eating meteorite worms. Employing sci-fi, documentary and ethnography techniques, a state of mind particular to early youth is sublimated - weight is lent to shadows as vast as space, ripe with discoveries both minuscule and immense.

Concerning three groups of children from disparate upbringings, A Black Hole is a Black Hole in the Ground intimately depicts the strange, ephemeral realities that arise on evenings of play, when dimensions of space and time, not fully cemented by adulthood, begin to dissolve. Parking lots, hen houses, and brownstone apartments become the dwellings of many strange creatures; coyotes are rendered forest spirits, neighbors as martians, and night crawlers as flesh-eating meteorite worms. Employing sci-fi, documentary and ethnography techniques, a state of mind particular to early youth is sublimated - weight is lent to shadows as vast as space, ripe with discoveries both minuscule and immense.

Based on the performance manifesto, Your Healing is Killing Me, by Virginia Grise, Bryant and Livingston's video was produced as part of the workshop in the 2018 ImageTextImage program.

Elizabeth, ten years old, lives with her reclusive mother in a dilapidated apartment where fish infest the piping, surfacing by way of a drain in the bathtub.

Elizabeth, ten years old, lives with her reclusive mother in a dilapidated apartment where fish infest the piping, surfacing by way of a drain in the bathtub.

"I Was Born Out Like a Fish" is a recollection combining partially imagined images and dreams from the filmmaker's childhood with the seldom-told family stories that inspired them.