Erik Sutch

Claire is an abortion doctor living in a post-industrial America where football no longer exists, but TRAP laws still do. After restrictive state regulations force Claire to shut down her clinic, she drives a taxi while waiting to reopen. The senator who was instrumental in passing the legislation dies in her backseat, and his wife and daughter come out of the woodwork and into Claire's life.

The digital presence left by people I knew who died young has vanished. Songs they’ve uploaded, photo albums, public diary entries, all deleted and all that’s left is generic obituaries. When I think of these people, I think of a place. With two cameras, I’m capturing the outline of a memory we shared there in present and in past.

Consisting of eighteen segments depicting what people need from life and what they add to it, the film puts an emphasis on sound and quiet just as much as it does on light and shadow. Featuring an original soundtrack by Erik Sutch and Lila Tublin, the movie was shot on digital video, film, and videotape over the last ten or so years in Australia, Chile, Egypt, Japan, Mexico, New Zealand, Romania, the US, and Vietnam. It commemorates a decade of having a video camera in your pocket at all times ready to capture whatever is worth taking the camera out of your pocket for.

Claire is an abortion doctor living in a post-industrial America where football no longer exists, but TRAP laws still do. After restrictive state regulations force Claire to shut down her clinic, she drives a taxi while waiting to reopen. The senator who was instrumental in passing the legislation dies in her backseat, and his wife and daughter come out of the woodwork and into Claire's life.

Claire is an abortion doctor living in a post-industrial America where football no longer exists, but TRAP laws still do. After restrictive state regulations force Claire to shut down her clinic, she drives a taxi while waiting to reopen. The senator who was instrumental in passing the legislation dies in her backseat, and his wife and daughter come out of the woodwork and into Claire's life.

Claire is an abortion doctor living in a post-industrial America where football no longer exists, but TRAP laws still do. After restrictive state regulations force Claire to shut down her clinic, she drives a taxi while waiting to reopen. The senator who was instrumental in passing the legislation dies in her backseat, and his wife and daughter come out of the woodwork and into Claire's life.

The digital presence left by people I knew who died young has vanished. Songs they’ve uploaded, photo albums, public diary entries, all deleted and all that’s left is generic obituaries. When I think of these people, I think of a place. With two cameras, I’m capturing the outline of a memory we shared there in present and in past.

The digital presence left by people I knew who died young has vanished. Songs they’ve uploaded, photo albums, public diary entries, all deleted and all that’s left is generic obituaries. When I think of these people, I think of a place. With two cameras, I’m capturing the outline of a memory we shared there in present and in past.

Consisting of eighteen segments depicting what people need from life and what they add to it, the film puts an emphasis on sound and quiet just as much as it does on light and shadow. Featuring an original soundtrack by Erik Sutch and Lila Tublin, the movie was shot on digital video, film, and videotape over the last ten or so years in Australia, Chile, Egypt, Japan, Mexico, New Zealand, Romania, the US, and Vietnam. It commemorates a decade of having a video camera in your pocket at all times ready to capture whatever is worth taking the camera out of your pocket for.