Henderson’s work emerges from dreams and the movement of their images and experiences into her waking life. In processing these subconscious traces the narratives slip through memories and clichés, desires and trauma. She persistently establishes quotidian objects as near characters before altering them in abrupt or impossible ways: a play of expectation and surprise. The film’s succession of events is carefully planned so it can be edited in camera, captured in single shots as if experiencing the dream. In this Surrealist tradition, everyday objects are manipulated by unseen hands and the sequenced juxtaposition of these moments creates a narrative that is at once absurd and highly familiar. These sequences allude to chain reactions, operations carried out with focused concentration to meditate on the banal and uncanny with equal attention, troubling out their esoteric truths.
Los Angeles, 1949. Ruthless, Brooklyn-born mob king Mickey Cohen (Sean Penn) runs the show in this town, reaping the ill-gotten gains from the drugs, the guns, the prostitutes and — if he has his way — every wire bet placed west of Chicago.
In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine.