The editing techniques with moving images are always individually linked to the thematic content of each section of a film. Here there are four: injury/trauma;emotional and physical need; solitude; and everyday experiences that account for the past, present, and future. The compositions become more abstract as the film proceeds. Props that assume particular moods, characters, or compositional roles later recur as their distinctive other, and the willfully adolescent sets and dioramas, assembled in the studio and captured in stop animation, give way to camera phone videos shot out in the world.
Minor episodes from daily life invade the space of fantasy like viruses, generating tainted skins and textures of reality that graft onto the visual narratives. Laced with the anxiety of the time-constraint, they cancel out the possibility of some pure and spontaneous action executed in the subur