What is there to see when characters turn their back on us? Back views in cinema are experienced as disturbances of their visual regime. But by hiding the faces these images point towards another presence, both familiar and uncanny to us all: there’s an off-space we all carry with us but can never look at without optical help. The part of us, where we become strangers to ourselves.
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A brooding, alcoholic police officer with a painful past is sent, against his will, to a government guest house high up in the icy cold, mountains of Himachal Pradesh to investigate the death of a 17 year old girl.
Set in an apocalyptic era, The Journey tells the story of Adrian, played by Richards, who lived during the post-apocalyptic era where humans have become barbaric and murderous creatures.
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Submersed in "bro" culture, a fraternity brother's obsession with a poem and its poetess begin to inform him more about himself than he is ready to accept.
“Sketch XXX (work in progress)” in addition to its “poetic” and “political” content also brings the spectator to his capacity for revolt as an individual before being carried away by an obedient and non-thinking collective membership … The gradual erasure of our antagonistic individual-collective concepts will perhaps help us as individual-collective to imagine that perhaps all the elements of the living being connected this invalidates all “individualist” attempts.