Alternately hilarious and horrifying, Overnight chronicles one man's misadventures of making a Hollywood movie. It starts out as a rags to riches story as Troy Duffy, a Boston-bred bartender, sells his first screenplay for The Boondock Saints.
The shadows of screams climb beyond the hills. It has happened before. But this will be the last time. The last few sense it, withdrawing deep into the forest. They cry out into the black, as the shadows pass away, into the ground.
Through a structuralist and simultaneously ambiguous form, the image's reality treads closer to the abstract, leaving the sunset and trees behind. As we enter the image's gloaming, it reveals its true eye: reality's pure haptic energy, where there is nothing but sonorous light, and the dregs of the Unknown.
It is nightfall. A hunter lurks in the darkness, wandering further towards the impenetrable. Do the meanings lie in the stream, in the mountains, the stars, or in the death of things?
Several figures move through the darkness on a cliff-edge. An inaudible conversation near the brow of the cliff may be the cause for the group to disband. The rest of the film follows the solitary journey of the youngest member of the group, until she rests; where land meets the sea.
Upon liminal spheres where dreams are woven, Adrift between stars and the trees, I pass closer to the golden dawn. There’s a warmth beyond the shadow. I feel the aurum under my eyelids, And I hope the birds will sing. Oh, I hope I will hear the birds sing... Perhaps a knowledge that never comes. for David Robert Jones (8th January 1947 - January 10th 2016)
An audio-visual collaboration between Italian ambient/drone musician, Easychord and UK filmmaker, Scott Barley. Guided by Easychord's haunting, bodily piece, the Scott Barley's visuals explore and invoke the concepts of prisoner's cinema, stream of consciousness, repetition, the primordial body, fundamental entities, and astral planes.
Above all, an experiment. Two identical films mirror each other. The only thing that differentiates between them is colour and sound, which is simply reversed. Through the use of just colour and sound, each part invokes unique sensations in the viewer; one of sorrow, and one of fear. Not a single identifiable object features. Instead, the films focus on repetition, texture, movement and light.
Through a series of hauntingly beautiful, chiaroscuro vignettes, the poignant deterioration of an elderly woman's life is observed.
A Green Ray that never features. Instead, we sense it, seeing beyond our own eyes, beyond the hills, we sense it for an instant. We are plunged into the unknowable, beyond the horizon, beyond seeing altogether. In a single, virtuoso 11 minute take, Barley takes us from lush sunsets. to beyond the green ray, and into the gloaming, into the heavy night's darkness, where we, transfixed, can do nothing but await the impending storm.
Darkness has crept in. The hours pass quietly. A window ajar. A shadow observes the moonlight from the window.
A silent poem to celebrate the winter light and the sense of solitude that it brings.
A teenager who has spent a year of his life campaigning for Barack Obama makes his way to Denver to hear the former Presidential candidate accept his nomination.
