Saline bodies, water. Buckets, film. Materiality, memory. Erosion, elision. Time, travel. Spiral, Jetty. Salt Lake, Dead Sea. Jennifer West’s fervent materialism is by now well documented—strewn as her films are with materials, which she then indexes in her paragraph-long titles—as are the dialectical relationships she plumbs with awesome hallucinatory fever. Likewise, her films Spiral of Time Documentary Film and Salt Crystals Spiral Jetty Dead Sea Five Year Film (both 2013) materialize—no, metabolize—more of these things. Travelogues in the elliptical way that Tony Conrad’s black painted frames on paper, his seventies-era “Yellow Movies,” were movies, West’s recent films are admixtures of shot images and abstract, material traces, in the acid-y palette that is her signature.
Ex-Federale agent Machete is recruited by the President of the United States for a mission which would be impossible for any mortal man – he must take down a madman revolutionary and an eccentric billionaire arms dealer who has hatched a plan to spread war and anarchy across the planet.
Wallace, a medical school dropout, has been repeatedly burned by bad relationships. So while everyone around him, including his roommate Allan, seems to be finding the perfect partner, Wallace decides to put his love life on hold.
A series of brutal murders puts the lives of three men on a collision course: The father of the latest victim now out for revenge, a vigilante police detective operating outside the boundaries of law, and the main suspect in the killings - a religious studies teacher arrested and released due to a police blunder.