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- At a time when competing interests and ideologies are disputed in blood, bombs, and climate altercation, we long to build a peaceful place instead. Between Temples is a world at once familiar and quite unlike any place ever known. Its lusciously lyrical real-film images meld brilliant living forests with stony cemetery sphinxes and angels - representatives from religions gone and very present. Migrating monarch butterflies, mysterious liquid globes falling sideways, movements of a soft-focus black cat, and shimmering wet surfaces speckled with tiny floating flowers create a glistening, intertwining melange of vibrant life in dark frames. Haunting temple songs layered with urban traffic rhythms clash against their vanished walls in this wild sanctuary. Immanent and otherworldly, with its icons of religions and non-religion, this film illuminates one place all these interests play and pass on together: between the temples. Here, in our minds, we entertain the gods which code our moral aspirations and the environmental catastrophes of their otherworldly focus. Here, between our faces' temples and the temples of official doctrines, we can also imagine another way and change our course. A celebration of the power, depth and ordered creativity of the unconscious imagination, this film was composed entirely in a dark camera cavity. Its overlapping images were crafted through instinct, memory, and chance on only one roll of film exposed nine times, and revealed in whole after development.
- War is explored as an ongoing cyclic production which opens with images of healing soldiers. Without pause for reflection, the campaign immediately launches into the next phase, propagation through recruiting new young men in 1960's era World War Two reenactments. One unseen soul seems to have escaped the celluloid! Upon witnessing the pattern, she narrates resistance to repeating the cycle, at first as a private psychological battle with propaganda and religious imperative. This half-freed, unseen soul, still caught in the bardos of the narration, calls on other souls through many generations to break the cycle through reflection and reframing the meaning of war. Newly filmed dancers push against recontextualized old film characters in a collage battle to convert and save each other. In this cyclic timespace, the linear narrative of war is lost, so the stories of winning and losing become conditions rather than results, undercutting the propaganda that war can be won definitively.