II. Sunshine Holiday
This shot was one that never seemed to work in its entirety in Dislocation Blues (2017), but maybe it does? Either way, the overlays and sound work happened recently. The time and the distance from editing Dislocation Blues and the beauty and the trauma in the footage was helpful in watching this scene and not feeling so much grief, anger, anticipation, and nostalgia as I felt months after the fact while struggling to put it all together.
Eidolon, 3 minutes (2021)
This track appears in Lore (2019), a 16mm film I made inspired by some ideas in Hollis Frampton’s Nostalgia (1971). I wanted to share it in its entirety and hear my friends, EJ Hill and Fern Silva, as we played music together. I miss them, which is one of the things I expected while making this film—to become nostalgic for these moments and to have these mementos to return to and share.
Haunty - Heart-o-matic Love (2019)
This is Eidos and Caprice, spanning and describing valleys
Cut deep by rivers pushing down on the rise of earth.
Their games were played and now what we have is a land,
And a space, open and full of vacant stories,
Slack jawed, and staring—waiting for what will come next.
While waiting they sing a song heard once on a radio
In a shop during lunch in the winter
With a love unconfined and unrestrained
And over as soon as it began.
The rhythms and shape never change
And EJ’s voice strains against the repetition.
This is the old way.
Maybe Caprice will take a break, and then we can take it easy
With the weights of history resting on the floor at our feet
As Eidos looks on and says “Hello, how are you?
It is good to see you again.”
Next: Gentle People, Kind People, from Disfluencies: A Dossier by Sky Hopinka
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