Assault on Precinct 13, John Carpenter. 1976

And then later.

Zig~Zag, Raúl Ruiz. 1980

Had they been meant somehow for the long jammed and crawling hours of flight from the City, something inspirational to look at, to assure them all in a way not immediately clear it is not the end, or there is still hope ... ? was it only some travel game for the kids, to keep them occupied, to pass the time till the sudden light from behind, the unbearable sight in the mirror?

Vineland (pg. 252), Thomas Pynchon. 1990

The emotional process doesn't interest you. You're interested in cognitive processes.

My fiancée.

The end of End of Evangelion, Hideaki Anno & Kazuya Tsurumaki. 1997

Here with you. It's not like in a movie or a book, where everything is precise, thought-out, organised... with a clear-cut goal. Everything's chaos... Chance... Pain... Disorder...

L'amour braque, Andzrej Zulawski. 1985

I put my hand on a stove, to see if I still bleed, yeah / And nothing hurts anymore, I feel kinda free

Ghost Town, Kanye West. 2018

Fiction is not exclusively defined by a narrative thread that is cohesive and well-motivated. This is a type of fiction. Fiction is made-up people navigating through a made-up situation. Motivation and cohesion are not inherent to the form. These made-up situations might be dictated by real life, but their made-up-ness (imaginative freedom) is what makes them fiction. I wonder what would happen if what’s made-up does not have to follow a preset logic (dogmatic), but can move freely around the proposed theme or concept, following desire.

Apply a scene-by-scene approach to a film dictated not by narrative but by situation, character, landscape. Not action-consequence, but motion/movement-exploration. In search of an architecture more concerned with possibility rather than effect.

Je Tu Il Elle, Chantal Akerman. 1974

Celine and Julie Go Boating, Jacques Rivette. 1974