Plot Front

Trecartin returns to his conception of family-as-business-enterprise, casting parent figures as managers and executives on one end of the spectrum, estranged children as freelancers on the other. The director plays four sisters named Ceader, Britt, Adobe and Deno, the boundaries of whom are indistinct. It is difficult to tell where one sister ends and the next begins. The sisters' questing—for identity, for romance, etc.—leads them on an episodic series of adventures, several of which are defined as "premises." A Trecartin premise plays out as a predetermined situation where the character initiating it has already set the tone, terms, and trajectory of the experience in their mind. The actual, lived event serves only as the shading-in of the outline.

In P.opular S.ky (section ish), a character played by Trecartin informs us that she wants ‘to live in a world where narration is the devil’. The ability to script oneself is an inalienable right, and anything that opposes that right must be rejected.

A Family Finds Entertainment chronicles the story of mixed up teenager Skippy and his adventures in ‘coming out’. In this over the top celebration of queerness, Trecartin’s film mines the bizarre and endearing in an unabashed pastiche of ‘bad tv’ tropes. Cheesy video special effects, dress-up chess costumes, desperate scripts, and ‘after school special’ melodrama combine in the fluency of youth-culture lingo, reflecting a generation both damaged and affirmed by media consumption.

Temp Stop, as the title implies, has a disjunctive quality that separates it from the other parts of Re'Search Wait'S. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal--in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use The Re'Search to brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time.

A group of people awaken to find themselves prisoners in a mysterious house with no means of escape. They are each outfitted with electronic devices attached to the base of their skulls. The chemicals that the brain produces when in pain are collected by the devices, and when it collects a predetermined amount, the doors will be opened. In order to escape, they must hurt themselves and each other.

The film focuses on the life of Jenny who has, according to many of the other characters, become too “left-of-center” while pursuing her interests.

In Ready, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a "career" in favor of a "job," the execution of which Trecartin calls a "work performance." A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment. A third type of worker, Able (Lizzie Fitch), more fluidly adopts and discards the gestures of job and career, positing herself as a hobbyist who contrives the situations and outcomes she needs to keep her wave going.

In Comma Boat, we're stuck in a mock-authoritarian fantasy--a power trip. The film centers around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. As if a post-human, post-gendered reincarnation of the Fellini character in 8 ½, the director gloats and frets about professional and ethical transgressions. "I know I lied to get ahead," he admits at one point. "I've made up so many different alphabets just to get ahead in my field." The director is fancier now, but the fear nags that he might be "repeating" himself "like a dumb soldier ova and ova and ova and ova." The meta-connection to the artist's own career, while obvious, is also a decoy. All art, at some level, is about the artist. Here, reflexivity is the surface level, providing a decodable veneer that encases something more unsettling and complex. Single-channel and 3-channel versions.

On the eve of her wedding, Monica invites her friends to spend the night at Douglas Plantation, unaware that the estate is rumored to be haunted by the spirits of thirteen murdered slaves. Now, someone or something is stalking Monica and her guests, and terror awaits them at every turn...

Dazzling and raucous, Ryan Trecartin's first feature-length video takes cues from chat rooms, social networking web sites, YouTube, John Waters, and Pee-wee’s Playhouse, and then turns them upside down and inside out to create an entirely singular video genre. In I-BE AREA, Trecartin intertwines the stories of an incredible ensemble cast to follow a day in the life of I-BE II, the rebellious clone of I-BE.

The award winning producers of the award winning, cult classic film, RETIRING TATIANA are back with this highly experimental screen adaptation of Anthony Lovell Winters' hilarious hit play, "Section 8". Proverbial skeletons are dragged from the family closet when deadbeat dad (Tony Winters) and his college bound son (Akeem Smith) are forced under the same roof of the fathers shabby, low income apartment. The laughter soon gives way to tears as schemes are hatched, aliances tested and long held secrets revealed.

Yellow Day chronicles a young man's life-changing and inspirational journey through the mysterious Yellow Day. To many, the Yellow Day is simply a fun day celebrating outreach at a kid's camp, but to some, God bestows visions and miracles, transforming their lives. For this young man, the Yellow Day becomes an imaginative adventure: showing him true heroes, challenging him to face his fears, find love, and inviting him to accept grace, so that he can be shaped into who he is meant to be.

Daisy Park's boyfriend Raul has 5 months left when he gets new cell mate Ian. They become friends and when Ian is released before Raul with no home, he goes to stay with Daisy. An affair sparks, revenge is inevitable.

What if you knew you were going to die tomorrow? How would you spend your last day? Well Amber and Jade do know because they plan to kill themselves and record their last 24 hours. Haunted by the untimely death of her mother Maria and the searing betrayal of Ace, her first true love, Jade Evans finds herself giving up on life. Then, when her beloved counselor Lexi dies, Jade believes she has nothing left to live for.