Lilly Zhuang

In East Riding, Yorkshire, seventeen-year-old Kaden reluctantly takes a job at the local strawberry field over the Summer. A quiet introvert, Kaden doesn’t fit in with the other farmhands, who are all older, and more experienced, and treat him with contempt. It is here he encounters Lucas, an aloof eighteen-year-old who has worked at the farm for several Summers now. Underneath his initial indifference, Lucas hides a deeper curiosity for Kaden. Desires disentangle in this new, uninhibited, and sun-drenched environment, as the two boys tentatively begin to explore their feelings towards one another in secret, a kinship that forces them to confront their own internalized homophobia, shame, and sense of belonging.

As Far As Our Eyes Can See is an interpretation of Jonas Mekas’ idea of diary filmmaking through deeply personal expression made plural. Five people record whatever their attention was drawn to without any further instructions, expectations, or limitations, for 24 hours across the span of a week. The camera becomes an extension of five sets of eyes, recording the personal shared act of perception.

In East Riding, Yorkshire, seventeen-year-old Kaden reluctantly takes a job at the local strawberry field over the Summer. A quiet introvert, Kaden doesn’t fit in with the other farmhands, who are all older, and more experienced, and treat him with contempt. It is here he encounters Lucas, an aloof eighteen-year-old who has worked at the farm for several Summers now. Underneath his initial indifference, Lucas hides a deeper curiosity for Kaden. Desires disentangle in this new, uninhibited, and sun-drenched environment, as the two boys tentatively begin to explore their feelings towards one another in secret, a kinship that forces them to confront their own internalized homophobia, shame, and sense of belonging.

As Far As Our Eyes Can See is an interpretation of Jonas Mekas’ idea of diary filmmaking through deeply personal expression made plural. Five people record whatever their attention was drawn to without any further instructions, expectations, or limitations, for 24 hours across the span of a week. The camera becomes an extension of five sets of eyes, recording the personal shared act of perception.

As Far As Our Eyes Can See is an interpretation of Jonas Mekas’ idea of diary filmmaking through deeply personal expression made plural. Five people record whatever their attention was drawn to without any further instructions, expectations, or limitations, for 24 hours across the span of a week. The camera becomes an extension of five sets of eyes, recording the personal shared act of perception.

As Far As Our Eyes Can See is an interpretation of Jonas Mekas’ idea of diary filmmaking through deeply personal expression made plural. Five people record whatever their attention was drawn to without any further instructions, expectations, or limitations, for 24 hours across the span of a week. The camera becomes an extension of five sets of eyes, recording the personal shared act of perception.