Nathan Swann

To attempt to restore their relationship—after Miller (Milly) has caught his boyfriend Ben having sex in their bed with another man—the two boys head out to camp in the woods, only to discover that the space they rented is still inhabited by two girls who suggest they share the space. It’s the perfect solution, of course, of which any heteronormative mother and father might approve; when gay marriage fails, send the boys back to boot camp to toughen them up and throw in some good-looking girls, even if they happen to be lesbians.

A couple's evening together is disrupted by a trip to the convenience store.

A couple's evening together is disrupted by a trip to the convenience store.

Palm Sunday drifts between presence and absence, in the corners, edges, and spaces behind our experience. Both haphazard and precise, its images layer upon each other like a tapestry winding and unwinding. Rhythms emerge through repetition, like a song finding its root note. In this way, the film echoes liturgical movement in gestures repeated, images revisited, a quiet ritual of seeing and remembering.

February 24, 2024 | 35°59'27.5"N 83°55'19.4"W

Although the fig tree shall not blossom, neither shall fruit be in the vines; the labour of the olive shall fail, and the fields shall yield no meat; the flock shall be cut off from the fold, and there shall be no herd in the stalls.

Filmed as a series of 20 durational sequences, “All Flesh is Grass” is an exercise in landscape cinema that delves into themes of time, place, temporality, and spirit.

Filmed as a series of 20 durational sequences, “All Flesh is Grass” is an exercise in landscape cinema that delves into themes of time, place, temporality, and spirit.

A film about my friend in his backyard, and his devotion to making something grow.

The quiet hum of varied streets gathers into a song of dust and light.