This 71-minute, free-associative collage analyzes the effects of mental health, social media, and sharing oneself with the world. Its mind-boggling structure makes Gushs time-traveling spectacle mundane and, instead, opens up conversations about how we function and perceive information, leaving little room for blanket statements.
It can feel risky, as a director, to put a well-thought-out scenario at the mercy of New York streets, but, as indies like Daniel Antebis Gods Time (2022) go to show, the loss of control also breeds high rewards, capturing spectacles inherent to the city itself.
Shot on 16mm by interdisciplinary artist and filmmaker Cauleen Smith, Drylongso (1998) is a tender yet unflinching dispatch from 1990s Oakland.
In Kino Eye (1924), the first of his two masterpieces, Dziga Vertov staged a resurrection, turning a bull carcass hooked in a city slaughter house into a living bull, happily grazing in a field. Kino Eye moves time backwards, the title card reads just before the miracle.