Goodnight Goodnight

Good evening, Good night

Right from the start
The frame is the interior of a moving vehicle
A space that reminds us of the guided nature of our gaze
A structure that we seek to highlight here
Over time
To better reveal its mechanisms

A game played by the mise-en-scène
Through telephone conversations and meandering drives
The film openly exposes and unfolds
The very structures that shape its creation
What does it mean to document?
What are we seeking?

The institutional history is told
Only to wander from it
Constellations, love, and subway stations
It is in this discrepancy that Rostad’s rhizomatic thinking
Intersects with the words of Georges Dor
And embraces those of Laforest and Marchand

What follows is a poetics of electrons
That highlights the character at once artificial and natural
Yet always interdependent
Of the connections that drive our lives

Matthew Wolkow
Filmmaker and curious by profession