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Anakin Skywalker, a young slave strong with the Force, is discovered on Tatooine. Meanwhile, the evil Sith have returned, enacting their plot for revenge against the Jedi.
Following an assassination attempt on Senator Padmé Amidala, Jedi Knights Anakin Skywalker and Obi-Wan Kenobi investigate a mysterious plot that could change the galaxy forever.
Set ten years after the events of the original, James Cameron’s classic sci-fi action flick tells the story of a second attempt to get rid of rebellion leader John Connor, this time targeting the boy himself. However, the rebellion has sent a reprogrammed terminator to protect Connor.
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.
The ennui of a filmmaker, trapped between aspiration and reality, frames Lana Jing’s quirky, sarcastic, and cinematic-joke filled quarter-life crisis. At her lecture hall job, where aging white men wax on, self-involved, Lana accidentally frames her friend and co-worker when she destroys the only copy of an aging tech-bro’s high-profile lecture. Lana is forced to navigate stop motion animation, a secret admirer, and terrible bridge traffic to sort out a way forward to her destiny… kinda.
