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Trecartin returns to his conception of family-as-business-enterprise, casting parent figures as managers and executives on one end of the spectrum, estranged children as freelancers on the other. The director plays four sisters named Ceader, Britt, Adobe and Deno, the boundaries of whom are indistinct. It is difficult to tell where one sister ends and the next begins. The sisters' questing—for identity, for romance, etc.—leads them on an episodic series of adventures, several of which are defined as "premises." A Trecartin premise plays out as a predetermined situation where the character initiating it has already set the tone, terms, and trajectory of the experience in their mind. The actual, lived event serves only as the shading-in of the outline.
In Item Falls, we are peaking. We start out at a casting call, but before long we're firmly in the grip of hallucination, shedding our anxieties and evidently regressing to the animation era, a time when stunt chickens were mere chicklets. Friendly archetypes float in and out of what seems like our bedroom. The red-headed Jenny has returned, but this time she's squeaky and trusting. Unlike in Center Jenny, here our perspective is literally centered. The camera seems to be the in middle of the room, which is good, because we're too blissed out to move. Luckily, our hallucinations look directly at us.
A reflective look at the arrival and impact of AIDS in San Francisco and how individuals rose to the occasion during the first years of the crisis.
Smart and lonely high school senior Ben secretly lusts after bad boy classmate Johnny. After play practice one night for the senior production of “A Streetcar Named Desire,” “light-boy” Ben gives Johnny, the play’s Stanley, a ride home to help him with his lines.
A popular high school hunk Johnny takes a late-night dip with cute loner Ben. Fifteen years later, these two men — who haven’t seen each other since a late-night tryst in high school — bump into each other unexpectedly.
