Anita Anand

After his life is turned upside down when his wife is killed in a London terrorist attack, a brilliant but introverted CIA decoder takes matters into his own hands when his supervisors refuse to take action.

A couple of thirtysomething best friends unwittingly become entangled in an international conspiracy when one’s ex-boyfriend shows up at their apartment with a team of deadly assassins on his trail.

In Rhea (1982), Askevold elaborates on his interest in allusion and implication, using images that seem to be fragments of a larger narrative to suggest, rather than tell, a story. This piece consists of a series of close-up shots of numerous people, each stating a name or phrase. The shots gesture towards the type of staged reaction shot, often used in soap operas or made-for-TV movies, interrupting the linearity of the story.