A dystopian satire about censorship and film preservation.

Under house arrest following his attempted escape from the State, renegade film historian Kevin Quartermain is tasked by the Minister of Communication with deciphering the meaning behind a mysterious video signal that has appeared on the State Communication Channel. He enlists the help of his old friend, archivist George Kaplan, who now exists only as an AI simulation inside the Image Chamber. Their search for answers about the footage leads them back to the birth of cinema itself.

Under house arrest following his attempted escape from the State, renegade film historian Kevin Quartermain is tasked by the Minister of Communication with deciphering the meaning behind a mysterious video signal that has appeared on the State Communication Channel. He enlists the help of his old friend, archivist George Kaplan, who now exists only as an AI simulation inside the Image Chamber. Their search for answers about the footage leads them back to the birth of cinema itself.

In CINEVANGELIST: A LIFE IN REVIVAL FILM, film historian and artist George Figgs tells the story of his life's work in bringing revival cinema to Baltimore and beyond. From his role in Baltimore's underground film scene of the 1960s and his involvement with the Orson Welles Cinema in Cambridge during the early '70s, to helping manage Baltimore's celebrated Charles Theatre in the '80s, owning and operating the Orpheum Cinema during the '90s, and continuing with the "third wave" of revival cinema today, Figgs has made it his mission to bring alternative films to the audiences who want to see them, in the way they were meant to be seen.

An independent filmmaker, researching a film about Dashiell Hammett, comes to Baltimore in search of elusive mystery writer Charles David Hammitt, his consultant on the film, who has gone missing.

An independent filmmaker, researching a film about Dashiell Hammett, comes to Baltimore in search of elusive mystery writer Charles David Hammitt, his consultant on the film, who has gone missing.

An independent filmmaker is hired to shoot surveillance footage of an unknown purpose for a mysterious client, leading to a conversation about the relationship between cinema and surveillance.

An independent filmmaker and a film historian discuss ideas about sound and image, documentary, and authorship, while planning a film about a (fictional) early cinema pioneer.