A poetic meditation on healing mechanisms conjured by New Orleanian women.

Accumulated over three years, this film is a crowded collage of gurgling paint, jagged splices, errant sprocket holes, and puzzling images that conjure the densely material frames of the late queer avant-garde filmmaker Luther Price. A messy assemblage in purples and oranges, the film is at once a visceral explosion of color and a tortured object.

The filmmaker's grandfather (whom she never met) worked as a longshoreman on the Brooklyn waterfront for 37 years. This film is an attempt to measure closeness despite temporal distance.

This film highlights John Avila’s Prison Pies food cart and the tamales he learned how to make with limited access to ingredients while incarcerated. What started as a communal and cultural ritual from his childhood with his grandmother continued into his time in prison.

While a couple is taking their wedding photos, this film asks what kinds of stories can be informed by instant images.

Order gives way to chaos. Chaos becomes ferment. Ferment spurs fecundity. This film depicts this cycle with natural and stylized elements drawn primarily from the poems and prose of W. B. Yeats.

In 2015, poet Jordan Scott set out to record the ambient sounds of Guantánamo Bay Detention Center as a means of bypassing its strict media censorship rules. Today, former detainee Mansoor Adayfi recalls how sound shaped his experiences there.