Ekaterina Selenkina

The lonely Alyona nurses her mother, who has lost her speech and mind to Alzheimer's. The daughter works from home and watches travel TV shows. One day, Alyona invites a man over, but her mother scuttles the date. On the same occasion, the daughter gets a opportunity to entirely change her life.

Through the alchemical materialization of hand-processed 16mm film, ’Fossil Falls’ uncovers a charge and vibration in the natural world. The camera traverses the desert in an embodied relationship with non-human life forms, exposing a sense of desire, narrative, and point of view in the non-human. Thus, there is a kind of crisis in trying to hold onto, know, or truly become that which is unknown, or outside of the human.

A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

The film resembles a memory with its lacunes, blurriness and sensuality. This is what it seems one saw some months ago wandering around Los Angeles.

The lonely Alyona nurses her mother, who has lost her speech and mind to Alzheimer's. The daughter works from home and watches travel TV shows. One day, Alyona invites a man over, but her mother scuttles the date. On the same occasion, the daughter gets a opportunity to entirely change her life.

The lonely Alyona nurses her mother, who has lost her speech and mind to Alzheimer's. The daughter works from home and watches travel TV shows. One day, Alyona invites a man over, but her mother scuttles the date. On the same occasion, the daughter gets a opportunity to entirely change her life.

The lonely Alyona nurses her mother, who has lost her speech and mind to Alzheimer's. The daughter works from home and watches travel TV shows. One day, Alyona invites a man over, but her mother scuttles the date. On the same occasion, the daughter gets a opportunity to entirely change her life.

Through the alchemical materialization of hand-processed 16mm film, ’Fossil Falls’ uncovers a charge and vibration in the natural world. The camera traverses the desert in an embodied relationship with non-human life forms, exposing a sense of desire, narrative, and point of view in the non-human. Thus, there is a kind of crisis in trying to hold onto, know, or truly become that which is unknown, or outside of the human.

Through the alchemical materialization of hand-processed 16mm film, ’Fossil Falls’ uncovers a charge and vibration in the natural world. The camera traverses the desert in an embodied relationship with non-human life forms, exposing a sense of desire, narrative, and point of view in the non-human. Thus, there is a kind of crisis in trying to hold onto, know, or truly become that which is unknown, or outside of the human.

A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

The film resembles a memory with its lacunes, blurriness and sensuality. This is what it seems one saw some months ago wandering around Los Angeles.