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Northern Hemisphere

I wanted to make a film in which the world is turned upside down, a film made up of images that assert that these images have no meaning. There is a shot that uses a doll, which was washed up on the riverbank where we visited while filming "Mineralogist". I picked it up thinking that I might be able to use it in the shoot. Masanobu Nakamura seemed to think that this shot was my response to "Commemorative Photography" and asked me about it, but I had no idea what it meant so I was at a loss for words.

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I wanted to make a film in which the world is turned upside down, a film made up of images that assert that these images have no meaning. There is a shot that uses a doll, which was washed up on the riverbank where we visited while filming "Mineralogist". I picked it up thinking that I might be able to use it in the shoot. Masanobu Nakamura seemed to think that this shot was my response to "Commemorative Photography" and asked me about it, but I had no idea what it meant so I was at a loss for words.

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Powder Keg

The Driver is drafted by the UN to rescue a wounded war photographer named Harvey Jacobs from out of hostile territory. While they are leaving Jacobs tells the Driver about the horrors he saw as a photographer, but he regrets his inability to help war victims. Jacobs answers the driver curiosity about why he is a photographer by saying how his mother taught him to see. He gives the Driver the film needed for a New York Times story and also his dog tags to give to his mother. When they reach the border, they are confronted by a guard who begins to draw arms as Jacobs begins taking pictures, trying to get himself killed. The Driver drives through a hail of gunfire to the border, but finds Jacobs killed by a bullet through the seat. The Driver arrives in America to visit Jacobs' mother and share the news of him winning the Pulitzer prize and hand over the dog tags, only to discover that she is blind.

Powder Keg

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