A selection of personal, experimental films.

Dark color image of young woman walking indoors while carrying a floor lamp.
Movie poster for the film possible:. The poster has an illustration of a woman holding a floor lamp that is illuminating a cassette tape on the floor.
This color image shows a behind the scenes still of a young woman performing for a large video camera.
This image contains multiple images: a large image of a man walking into a room with a knife drawn. The second image is a wider view of the same action. The third image is purple graphic of vectors. There is a white background behind everything.
This image shows multiple images of a rocky slot canyon with large icicles.
This is an image of a museum display of a large stuffed wild boar coming "indoors" through double french doors.

possible: Trailer

Description of films in Interior Territories collection:

  • possible: Trailer This is the trailer for the film possible: that I made in 2021 in collaboration with my daughter Amalia.
  • possible: (2021) In the depths of the protagonist’s mind there is a living room, dark and somewhat odd. Deeper into her subconscious, there is grief, unwieldy and confused. As she moves in and out of consciousness, she picks up the pieces of the loss of her mother and uses her imagination to create a new reality for herself.
  • The Making of possible: This short film, by director Autumn Eastom, documents the making of my short film possible:
  • Any Way Back (2017) Inspired by Lev Manovich’s database film as described in his 2001 book, This is New Media, I created a proof of concept for an experimental film that will continuously play and never repeat. (This is a recorded section)
  • 720˚ Equinox (2013) In this experimental film, two cameras make two rotations over the course of the winter equinox.
  • Got Land (2007) Got Land uses a road trip from Los Angeles to New Mexico as a springboard for a multi-faceted contemplation of space, time and history in the American West. In 1971 my parents, living in New Jersey at the time, bought a plot of land sight unseen in the New Mexico desert. They have never once visited it. My search for that land 35 years later forms the backbone of this film as I reflect on some of the mechanisms at play in the delineation and perception of space, time, and the landscape.