MNTV

S22 E2 | FULL EPISODE

MNTV 2202

The annual series showcasing some of Minnesota’s finest independent filmmakers. Produced with IFP Minnesota & Walker Art Center.

AIRED: November 30, 2015 | 0:53:10
ABOUT THE PROGRAM
TRANSCRIPT

>> FOR OVER 20 YES, MNTV HAS

BEEN A SHOWCASE FOR MINNESOTA

FILMMAKERS.

FROM ANIMATION TO NARRATIVE,

FROM EXPERIMENTAL TO MUSIC

VIDEO.

MNTV IS A CHANCE FOR

MINNESOTANS TO SEAT YEAR'S BEST

INDEPENDENT SHORT FILMS AND TO

WITNESS THE DEVELOPMENT OF THIS

STATE'S EMERGING TALENT.

>> MNTV PROVIDES ABILITY FOR

FILMMAKERS TO HAVE THAT

DIALOGUE WITH AUDIENCE, TO GET

THE WORK OUT, TALK ABOUT IT AND

SHOW IT ON BROADCAST TELEVISION

WHICH IS PRETTY AMAZING.

>> PEOPLE OH THAT DON'T GO OUT

TO THEATERS TO SEE FILM OFTEN

WILL SEE THIS FILM BECAUSE IT'S

ON THEIR TV.

>> IT'S KIND OF AN ASPECT

THAT'S A LITTLE BIRTH

MYSTERIOUS TO MOST PEOPLE TO BE

ABLE TO CREATE SOMETHING

BASICALLY FROM NOTHING.

>> AND NOW, THE 2016 SEASON OF

MNTV.

>> MNTV IS A CO-PRODUCTION OF

IFP MINNESOTA, WALKER ART

CENTER AND TWIN CITIES PBS.

FUNDING IS PROVIDED BY A GRANT

FROM THE SQUARE ROME

FOUNDATION.

>> "MUTE" IS A DAY IN THE LIVE

STORY OF A COLLEGE SENIOR WHO

IS TRYING TO PAY FOR HIS LAST

SEMESTER OF SCHOOL AND TRYING

TO PAY HIS RENTS AND HE TAKES

THE ONLY JOB HE CAN FIND IN A

SMALL TOWN WHICH IS SELLING

DOOR TO DOOR.

AND I THINK THAT'S SOMETHING ME

AND A LOT OF PEOPLE IN COLLEGE

GO THROUGH THAT EXPERIENCE.

THAT WAS A TIME WHEN I WAS ABLE

TO KIND OF BUILT UP THIS

IDENTIFY AND UNIVERSE FOR THE

FIRST TIME THAT WAS OF MY OWN

MAKING COMPLETELY BUT THEN AT

SOME POINT WE GET PUT INTO THE

REAL WORLD AND START TO BE

CHALLENGED AND I THINK IT'S

WHEN YOU'RE CHALLENGED IN THOSE

WAYS DO YOU START TO LEARN SOME

HARD TRUTHS ABOUT WHO YOU ARE

AND HOW YOU WOULD REACT AND

YOUR REAL IDENTITY KIND OF

TAKES SHAPE AND THIS IS A STORY

ABOUT THAT PROCESS.

[SOUND OF WIND AND FOOTSTEPS]

[DISTANT SOMBER MUSIC]

>> YOU TAKE THE TRUCK OUT, YOU

SELL YOUR QUOTE TAX YOU GOT

MONEY IN YOUR POCKET, OKAY?

LET'S SAY YOU WANT TO SELL

MORE, COME BACK, PICK UP SOME

MORE MEAT, TAKE IT OUT, SELL

THAT, YOU GET YOURSELF A BONUS.

>> YEAH, I APPRECIATE YOU

SEEING ME AND EVERYTHING BUT

FROM THE AD, ON TOP OF THAT,

THERE IS A WEEKLY CONTEST.

>> AWESOME.

BUT IF THE AD, I SORT OF

THOUGHT THIS WAS MORE LIKE A

DELIVERY KIND OF -- YOU KNOW,

FROM MY EXPERIENCE AT THE

CO-OP --

>> YOU MAKE A LOT OF MONEY AT

THE CO-OP?

LISTEN, THIS IS AN OPPORTUNITY

YOU CAN'T PASS UP.

>> I'M A VEGETARIAN.

>> I'M A VEGETARIAN.

THERE IS A VEGETARIAN 48 YEARS.

RAISED MY DAUGHTER VEGETARIAN,

SHE'S 27, NEVER STAYED STEAK.

THIS JOB IS NOT ABOUT EATING

MEAT, THIS JOB IS ABOUT SELLING

MEAT.

>> BELLY BUTTON.

>> LOOKS LIKE YOU WERE LICKING

HER BELLY BUTTON OR SOMETHING.

>> AND THE NATIVE DUDE

INTERVENED.

[ Audio Indiscernible ]

>> AND I DON'T THINK WE'RE

DRINKING THERE AGAIN.

>> TALKING ABOUT ME?

>> SEE YOU.

>> OKAY, LET'S HUDDLE UP.

>> THAILAND, OKAY.

SINGAPORE IS IN THAILAND.

>> 10-8, WHAT ARE YOU GOING TO

DO TODAY?

>> TEN YESTERDAY SO 1 TODAY.

>> GIVE HIM A BIG HAND, LADIES.

>> HERE.

>> HOW MANY?

>> 15.

>> WELL!

>> THANKS FOR SHOWING UP TODAY,

ALL RIGHT.

NEW GUY, WHAT'S THE NEW GUY

GOING TO DO?

>> UM...

>> HOW MANY CASES YOU GOING TO

SELL TODAY?

>> THREE?

[ Laughter ]

>> ALL RIGHT, SIR, GIVE HIM A

BREAK, HE'S NEW, HE'S BEING

REALISTIC, ALL RIGHT.

>> 23, I GUESS.

[ Laughter ]

>> SOMEBODY GETS THE PADDLE, I

THINK I'M GOING TO PASS OUT.

>> LINCOLN CON PARK THEY'RE

CALLING IT NOW.

I'M A KING OF GHETTO BOGGING

FEEL

>> IS THAT WHY WE'RE GOING TO

WISCONSIN?

>> WE'RE NOT GOING THERE, WE'RE

GOING MIGHT BE' GOLFING.

YOU BEEN GONE A COUPLE DAYS,

YOU GOT TO GET BACK IN THE MEAT

MAN MODE.

PEOPLE ARE [BLEEP] ALL OVER

YOU.

>> OH, YEAH.

>> SORRY, SORRY.

>> I'VE WORKED EVERYWHERE,

LITERALLY.

WORKED IN BARS, WAREHOUSES,

WORKED IN A...

[ Audio Indiscernible ]

>> WHO FOR?

>> WASHING DISHES AT THE PICK

QUICK WHEN I WAS 15.

WORKED AT THE VIDEO STORE,

STARTED DRIVING TRUCK.

AT THIS POINT, I'M 20, 21, 22,

GOT TO BE A TEAMSTER.

I WAS A VESTED TEAMSTER, FULLY

VESTED, NOW I SELL MEAT.

DO THE MATH.

[KNOCKING ON DOOR]

[CHANTING]

[SLOW JAZZY MUSIC ♪

>> WELL, HELLO THERE, YOUNG

LADY.

[SLOW JAZZY MUSIC ♪

>> EXCUSE ME, CAN I HELP YOU?

>> GOT EVERYTHING YOU WANT

RIGHT TO YOUR DOOR, CAN'T BEAT

IT, REALLY.

>> YOU'RE DOING THIS ONE,

BUDDY.

>> WHAT?

[KNOCKING ON DOOR]

>> HELLO THERE.

[SPEAKING NATIVE LANGUAGE]

>> HI, IS ANYONE HOME?

>> WHAT CAN I DO FOR YOU?

>> YEAH, YEAH, I -- WE WERE

JUST UP THE ROAD DELIVERING

SOME MEAT TO A HIGH-END CATERER

AND THE GUY CAN'T PAY HIS BILL

SO WE HAVE A BUNCH OF MEAT WE

NEED TO GET RID OF.

TODAY ONLY.

>> BEEF?

>> YOU PLAY POLY HOCKEY?

MY COUSIN COACHES OVER IN

PROCTOR.

>> COOL.

THAT'S LEAN.

>> THEY'RE DELICIOUS.

THEY'RE AWESOME.

>> I MEAN, I COULD TAKE THEM

OFF YOUR HANDS.

MAYBE 60 BUCKS A CASE.

>> O THE PRICE IS 75.

>> REALLY?

AIN'T WORTH IT.

THANKS, GUYS.

>> 70.

>> 50.

>> 65.

>> 60.

>> JUST ONE SEMESTER, HUH?

I HATE TEACHERS, MAN, MOST OF

'EM.

[ Audio Indiscernible ]

>> GO TO COLLEGE?

>> HIGH SCHOOL.

EASY, ACTUALLY, UNLESS YOU'RE

BLEEP ANYTHING IS HARD IF

YOU'RE A DUMB ASS.

WHAT DID YOU STUDY?

>> ANTHROPOLOGY.

>> O YOU HAVE A DEGREE, HUH?

>> YEAH.

>> AND I END UP SELLING MEAT

DOOR TO DOOR.

>> WON'T DO THAT BECAUSE YOU'RE

BLEEP YET.

>> MAYBE.

>> ACTUALLY, WE MIGHT JUST PART

WAYS HERE, YOU KNOW?

I MEAN, NO POINT ME STAYING ON,

RIGHT?

>> HEY, BABE.

>> HEY, WHAT ARE YOU DOING

HERE?

>> LUNCH.

I THOUGHT I'D STOP IN AND

SURPRISE YOU.

>> DON'T YOU HAVE THAT --

>> I DO, I DID.

THAT'S THE OTHER SURPRISE.

I GET TO HANG OUT WITH YOU FOR

THE REST OF YOUR SHIFT.

HEY, I MEAN THERE'S STILL THE

GOODWILL JOB.

I HAVEN'T HEARD THE OFFICIAL

"NO" YET.

>> THEY'RE IN.

>> I HAVE A PHONE ON ME, I WILL

USE THE REST OF THE DAY TO FIND

ANOTHER INTERVIEW.

>> DIDN'T THEY SAY YOU'D GET

PAID TODAY IF YOU STUCK IT OUT?

>> I'M DOING WHAT I CAN.

>> I'M NOT TRYING TO PUT YOU ON

THE DEFENSIVE.

IT'S JUST AT THIS POINT IT'S A

FACTUAL QUESTION OF HOW WE'RE

GOING TO PAY THE RENTS, LET

ALONE...

>> DON'T, JUST DON'T.

I WILL MAKE IT WORK.

>> HEY, HEY.

I WANT TO SPLIT UP.

I FIGURE WE'LL COVER MORE

GROUND FASTER, ALL RIGHT?

>> I THOUGHT YOU WERE GOING TO

[BLEEP].

>> I SAID I WOULD DO THE ONE

DAY SO I'LL DO IT.

BESIDE I CAN...

[ Audio Indiscernible ]

[KNOCKING ON DOOR]

[MUSIC]

>> HI THERE, SORRY TO BOTHER

YOU.

>> OH, MY GOD, ARE YOU A

[BLEEP] OR WHAT THIS?

I TOLD YOU [BLEEP] TO STAY AWAY

FROM MY HOUSE

>>

>> I'M NOT A MORMON, I'M A

MEATS MAN

>>

>> THIS IS TRASH?

YOU GOT TO BE KIDDING ME.

WHAT ARE YOU SELLING?

>> I GOT A WHOLE BUNCH OF

STUFF.

I'VE GOT STEAKS, PRIME RIB,

GROUND BEEF.

>> I'M NOT EXHIBITED.

>> SMARTS PEOPLE WOULDN'T PASS

UP A DEAL LIKE THIS.

>> SMART PEOPLE, NOT LIKE ME.

YOU GOT NOTHING BETTER TO DO

THAN GO AROUND MAKING PEOPLE BY

YOUR...

[ Audio Indiscernible ]

GET OFF MY PROPERTY.

>> I'M SORRY.

>> I SAID, GET OUTTA HERE.

[SOUND OF FOOTSTEPS AND

BREATHING]

♪ LIFE IS A HIGHWAY ♪

>> COME ON, COLLEGE BOY, WHAT

DID YOU SELL?

HEY [BLEEP], COULD BE WORSE,

COULD BE [BLEEP] BACK AT

THOMPSON HILL.

COULD BE DOING IT FOR FREE.

MAN, I'VE HAD LOTS OF JOBS.

SOME WORSE THAN OTHERS.

A LOT OF THEM WORSE THAN THIS

ONE.

I GOT THE MENTALITY LIKE I'M

NOT GOING TO HAVE A CAREER AND

I DON'T GIVE A BLEEP, YOU KNOW?

I'LL SHOVEL [BLEEP] IF YOU PAY

ME GOOD ENOUGH.

I'LL BE THE BEST [BLEEP]

SHOVELER YOU EVER SEEN IF YOU

PAY ME FOR IT.

JUST LET ME GET THE HOURS, LET

ME GET THE OVERTIME WHEN I NEED

IT AND STAY THE [BLEEP] OUT OF

MY FACE.

[MUSIC]

>> I HAVE AN IDEA.

>> NICE.

>> THIS IS AWESOME.

>> HEY, DON'T THROW YOUR BACK

OUT, OLD MAN.

>> GREAT GUY.

>> WHAT?

>> YOU SURE ABOUT THIS?

>> DEFINITELY.

IT'S LOCALLY SOURCED.

MAKING ME WORK LATE.

>> I LIKE IT.

>> HELL YES, YOU BETTER GET

USED TO IT.

>> THANKS A LOT, GUYS, BUT --

>> HEY, DON'T LEAVE BEFORE YOU

GET PAID, COLLEGE MAN.

YOU GOOD WITH THE HUNDOS?

>> BABE?

BABE?

>> PROFESSOR.

>> NO, I'M JUST GETTING A DRINK

WITH THE OTHER GUYS.

>> WHO DAT?

[ Audio Indiscernible ]

>> NO, THAT WAS JUST ONE OF THE

GUYS.

>> HEY, DARREN'S GOT THE NEXT

ROUND.

JAEGEYBOMBS, WE NEED SOME

BOMBS.

>> NO, NOT YOU, SORRY.

>> LOOK, I'LL BE HOME LATER.

I DON'T KNOW, LATER, LIKE I

SAID.

I DON'T KNOW.

>> JAEGER BOMBS.

>> YOU DID GOOD TODAY, ROOKIE.

YOU DID GOOD [BLEEP].

>> HAVING A COOL AID, I'M

HAVING A WHISKEY.

BAD BLEEP]

♪♪

♪ WELL, I TRAVELED DOWN A

GRAVEL ROAD, SIDE OF THE ROAD ♪

♪♪

♪ WELL, I MET A WOMAN DOWN IN

St. PAUL, SHE WAS BEAUTIFUL ♪

♪ I CAN'T WIN, BOYS, RUNNING

DOWN MY CHIN, NOW, ISN'T THAT

THE WAY IT IS ♪

♪ I SLEPT ALL NIGHT ON THE

BARROOM FLOOR, I WOKE UP THIS

MORNING, MY HEAD WAS SORE ♪

♪ NOW I WANT SOME MORE, THE BAR

MAN'S GOT MY CARD, BOYS, I

LEAVE IT DOWN AT THE BAR NOW ♪

♪ AIN'T THAT THE WAY IT IS ♪

>> "THE NEGATIVE" IS WHERE

PHOTOGRAPHY, MEMORY AND A

BROKEN DESTINY COLLIDE, IN THE

SPIRIT OF THE TWILIGHT ZONE

WITH A LINTS OF DAVID LYNCH,

ABOUT RELATIONSHIPS AND BAD

TIMING AND I'M AN EXPERT ON

BOTH.

[ Laughter ]

I SAID THAT A FEW TIMES.

I REALLY LOVE THE OLD ROD

SERLING "TWILIGHT ZONE" SERIES.

I LOVED THE WAY HE WOULD TELL A

WHOLE STORY WHERE YOU WOULD

THINK YOU WERE GOING IN ONE

DIRECTION AND THEN IT WOULD

SHIFT BUT THE OTHER THING THAT

I NOTICED WITH ROD SERLING'S

IDEAS, YOU CAN TELL A GOOD

STORY IN ONE SPACE AND SO I

REALLY WANTED TO MAKE A MOVIE

THAT TOOK PLACE SORT OF IN ONE

SPACE BUT HAVE THE SPACE KIND

OF HAVE THESE OTHER

POSSIBILITIES, SO IT'S A --

IT'S A PHOTO STUDIO AND MAYBE A

LITTLE MORE.

[SO MANY GEAR MUSIC]

[SOMBER MUSIC]

>> HOW DID YOU GUYS USE THESE

THINGS?

EVERYTHING IS --

>> UPSIDE DOWN AND BACKWARDS.

>> WILL YOU NOT DO THAT,

PLEASE?

IT'S LIKE YOUR EYE.

>> SORRY?

>> IT'S YOUR BRAIN THAT FLIPS

THE INCOMING IMAGE.

YOUR EYE AND THIS OLD BEAUTY

CAPTURES THINGS UPSIDE DOWN AND

BACKWARDS.

>> REALLY?

>> YES.

>> PHOTOGRAPHERS USED TO HAVE

THIS THING CALLED KNOWLEDGE.

>> THANK YOU.

>> THANK YOU.

AND FOR THE RECORD, I DID SHOOT

FILM.

>> ALL SO DIFFERENT NOW.

>> SO, ARE WE EADIE FOR THIS

EVENING?

>> YEAH.

ANYBODY SHOWS UP FOR CASTING,

HAVE 'EM SIGN IN, THE WHITE

SHEET, NAME, YOU KNOW.

SON, THINGS WILL LOOK UP.

IT'S LIKE PHOTOGRAPHY,

EVERYTHING'S A PROCESS.

>> EVERYTHING'S A PROCESS,

YEAH.

[SOUNDS OF ALARM IN THE

BACKGROUND]

>> OH.

[ALARM STOPS]

>> YES, HONEY, I'M -- ARE

YOU...

AH, THIS PLACE.

>> HEY, POP.

>> WHAT, WHAT, WHAT?

>> YOU WANT ALL THIS OLD STUFF

SCANNED IN BECAUSE --

>> IT IS IT'S CALLED ARE

CHIEFG, AND YES.

>> AND THE PHOTO BOOTH?

>> REPAIRED, DON'T TOUCH IT.

OKAY?

GOT EVERYTHING?

BACK-UP BATTERIES ON?

WE CAN'T HAVE ANY CRASHING

TONIGHT.

>> ALL IS WELL, CAPTAIN.

BYE.

[BACKGROUND PIANO PLAYING

SOMBER MUSIC]

[THUNDER CRASHING]

>> OH, THAT'S NOT FUNNY.

UNBELIEVABLE!

[SOUND OF THINGS FALLING]

[DARK, MYSTERIOUS MUSIC

PLAYING]

>> HI.

ARE YOU HERE FOR THE AUDITION?

>> ARE YOU ALL RIGHT?

>> AH.

, YEAH, THANKS, IT'S JUST FUSES

AND THE STORM STUFF.

>> THAT'S WHAT I HEARD.

>> I'M SORRY, WHAT?

YOU'RE HERE FOR THE AUDITION,

YEAH?

>> YES.

>> GREAT.

>> I MISSED IT THE FIRST TIME.

>> I THINK THIS IS THE FIRST

TIME.

>> MY HAND ARE SO COLD.

>> LEFTY, HUH?

>> NO.

YOU HAVE AN ODD SENSE OF HUMOR.

>> YOUR NAME IS 9 V 9?

>> NO, SILLY, IT'S EVE.

>> HOW DID YOU DO THAT?

>> IT'S OKAY.

>> DO I KNOW YOU FROM

SOMEWHERE?

>> YOU SEEM --

>> FAMILIAR.

>> YEAH, I JUST CAN'T QUITE

PLACE YOU.

>> I THINK THIS IS WHERE I'M

SUPPOSED TO BE.

>> YES, YES, RIGHT.

>> OH, NO.

I LIKE THIS ONE.

I MEAN, YOU KNOW HOW TO OPERATE

IT, RIGHT?

>> OKAY, EVE, POINT YOUR TOES

THIS WAY AND MOVE YOUR BODY TO

THE -- TO THE RIGHT.

NO, NO, SORRY, THE OPPOSITE

WAY.

THANK YOU VERY MUCH.

OKAY, YES, RIGHT, RIGHT THERE.

OKAY, NOW, LOOK RIGHT HERE AND

BE VERY, VERY STILL.

ARE YOU OKAY?

>> NO.

I'M FINE, I'M FINE.

>> OKAY.

>> I DO NEED TO GET A COUPLE OF

SHOTS ON THE DIGITAL, IF YOU

DON'T...

>> SIR?

I WOULD LIKE TO TAKE YOUR

PORTRAIT.

>> OKAY.

I'LL OPEN THAT UP FOR YOU.

OKAY, BUT EVERYTHING IS GOING

TO BE UPSIDE DOWN AND

BACKWARDS.

>> YOU LIKE FINE TO ME.

SO I FOCUS IT HERE, RIGHT?

OKAY.

ALL RIGHT.

GOOD POSTURE NOW.

[ Laughter ]

>> OKAY.

YOU SEEM REALLY NATURAL BEHIND

THE CAMERA.

>> DID I DO IT?

>> OH, YEAH, I THINK SO.

I WON'T KNOW UNTIL I SEE THE

NEGATIVE BUT...

>> I LOVE FILM.

IT'S MORE TIMELESS, DON'T YOU

THINK?

>> I REALLY DIG FILM.

>> DOES THE PHOTO BOOTH WORK?

>> YEAH.

>> WOULD YOU LIKE TO GO IN THE

PHOTO BOOTH WITH ME?

>> JUST A -- HAVE SOME WATER

AND SOME COFFEE.

ONE SECOND.

[DRAMATIC MUSIC PLAYING]

>> SPOOKY OR HOT.

SPOOKY OR HOT?

YEAH.

♪ EERIE MUSIC ♪

[SOUND OF CRYING ♪

[SOUNDS OF CRYING]

>> OKAY.

THIS IS A LITTLE -- ARE YOU

SURE THAT YOU'RE ALL RIGHT?

>> PLEASE DON'T ASK ME THAT.

[SOUND OF CRYING]

>> HEY, HEY.

[SCREAMING]

[PANIC-Y BREATHING AND

SCREAMING]

[SILENCE]

[SOUND OF MOVIE CAMERA

WHIRRING]

>> IT WASN'T LIKE THIS.

>> THAT'S NOT WHERE YOU WERE.

>> I WAS WHAT?

>> YOU WERE WAITING FOR ME.

WE WERE SUPPOSED TO MEET AND WE

DIDN'T.

IT'S ALREADY HAPPENED.

LOOK.

WHAT DID YOU FEEL WHEN I WALKED

IN THE ROOM?

>> I FEEL LIKE I'VE KNOWN YOU A

LONG TIME.

I WANTED TO BE WITH YOU THE

MOMENT I SAW YOU.

>> THAT'S NICE.

>> HOW LONG HAVE I BEEN HERE?

>> OH, TEN, 15 MINUTES.

WE SHOULD DO SOMETHING ABOUT

YOUR EAR.

>> I WANT TO TRY THE PHOTO

BOOTH AGAIN.

>> ARE YOU SURE?

>> I COULD USE SOME GOOD

MEMORIES.

THANKS FOR REMEMBERING ME.

YOU READY?

SEE?

[ Laughter ]

>> A BETTER ONE.

[ Laughter ]

>> I THINK I UNDERSTAND THIS

NOW.

YOU'VE GOT TO LET GO.

>> ARE YOU LEAVING?

YOU DON'T HAVE TO GO.

>> SOMETHING BAD HAPPENS IF I

DON'T LEAVE RIGHT NOW.

>> LET ME HELP YOU.

>> YOU HAVE.

>> I DON'T KNOW, LET'S --

>> THERE'S NO TIME.

>> IT'S FINE, JUST FINE.

JUST STAY.

>> I HAVE TO GO.

>> WHY?

>> THERE'S NO TIME.

LET ME GO.

I DIDN'T KNOW.

>> JUST LET ME HELP YOU --

>> LET GO.

I DIDN'T KNOW.

I'VE OVERSTAYED MY WELCOME.

>> HANG ON.

>> IT'S GOING TO TURN.

>> WHAT DO YOU MEAN?

EVE.

>> I'M SORRY.

[SOUND OF DISTANT THUNDERSTORM]

>> HEY!!

>> WHAT'S HAPPENING, JIMMY?

>> COME ON!

>> DAD?

DAD?

EVE?

SOMEBODY.

>> HOW DID THE CASTING GO?

ANYBODY SHOW?

I HAD FORGOTTEN I HAD THIS.

I SEE YOU PICKED A GOOD ONE.

I THINK YOU WOULD HAVE HAD

QUITE A CRUSH.

ONE OF THOSE PEOPLE...

OH, THERE YOU ARE.

GLAD YOU COULD MAKE IT.

EVERYTHING ALL RIGHT?

>> YEAH.

>> TOSS ME THE KEYS, WILL YA?

IT'S TIME.

>> I'LL SHUT 'ER DOWN.

♪ JUST CAME AS FAR AS I CAN

JUMP, SLEEPING IN THE CAR WITH

THE BROKEN PUMP AND WAITING FOR

ANOTHER HAPPY HOUR ♪

♪ YOU GOT DEEP POCKETS AND A

SHOCKED SENSE OF SMELL ♪

♪ RADIATOR STEAMIN', ALL I CAN

DO IS KOWER NOT SO WELL ♪

♪ DEVIL, WE DO, DEVIL WE DO,

DEVIL WE DO,

IS BETTER THAN THE ONE WE DON'T

KNOW ♪

♪♪

♪ YOU BROUGHT IT OUT IN PLAIN

SIGHT, WITH THE NAKED EYE ♪

♪ READY ♪

♪ HELLO, BAD MEMORIES, DON'T

WORRY, DON'T WORRY, YOU CAN'T

OFFEND ME ♪

♪ NIGHT DESCENDS, IT ALL

DEPENDS, I MADE AMENDS, I CAN'T

REMEMBER, THERE'S NO ENDING ♪

♪ THE DEVIL WE DO, THE DEVIL WE

DORK THE DEVIL WE DO,

IS BETTER THAN THE ONE WE DON'T

KNOW ♪

♪♪

♪ BROAD DAYLIGHT, PLAIN SIGHT,

WITH THE NAKED EYE ♪

[SOUND OF THUNDER]

>> MY NAME IS CRISTO LEER LANG,

DIRECTOR OF THE FILM "ORACLE."

AN EXPERIMENTAL NARRATIVE FILM

WHO EXPECT A WOMAN HAVING

TROUBLE IN HER RELATIONSHIP,

SIMULTANEOUSLY SHE'S

EXPERIENCING SOME WARNING SIGNS

FROM NATURE AND SHE STARTS TO

BELIEVE THAT THESE WARNING

SIGNS ARE MORE THAN WHAT THEY

APPEAR.

FOR CERTAIN SCENES, I JUST

KINDS OF ROAMED WITH THE CAMERA

AND JUST KIND OF -- I WOULD

PAN, EVEN IF THE PAN DIDN'T

REALLY MAKE SENSE, I WAS TRYING

TO BE REALLY INNOCENT AND

PLAYFUL.

I FEEL LIKE THE SHORT FORM --

WHILE IT DOES TAKE A LOT OF

ENERGY AND TIME, IT'S NOT AS

MUCH ENERGY AND TIME AS A

FEATURE FILM AND YOU CAN

ACTUALLY EXPLORE AN AREA, AN

IDEA, AN ARTISTIC THOUGHT.

♪ EXCUSE ME, PARTNER, FOR BEING

SO COLD, BUT YOU SEE, WE HAD A

LITTLE ARGUING ♪

[SLOW, SAD MUSIC PLAYING IN THE

BACKGROUND]

[SOUND OF VEHICLES SLIDING]

[SLOW, SAD MUSIC PLAYING IN THE

BACKGROUND]

>> I KNOW YOU'RE DRUNK.

I DON'T CARE.

I'D BE HAPPY IF WE CRASHED AND

DIED TOGETHER.

>> WHAT?

[SILENCE]

>> DO YOU REMEMBER WHEN WE MADE

LOVE IN THE WOODS?

>> YEAH.

IT'S WEIRD WHAT YOU SAID.

[SOUND OF AIRPLANES IN THE

BACKGROUND]

>> DON'T DO THAT NOW.

>> WHY?

>> PLEASE?

>> WHY?

WHAT'S THE MATTER?

COME ON.

WHAT?

>> YOU'RE LIVING LIFE THROUGH A

FELL TIER.

>> NO, I'M NOT LIVING LIFE

THROUGH A FELL TIER.

TELEVISION IS LIVING LIFE

THROUGH A FILTER.

DOCUMENTARY IS A BIG

DIFFERENCE.

>> WILL YOU LOOK AT ME?

>> WHAT'S THE MATTER?

>> I ALWAYS HAVE THE SAME DREAM

OVER AND OVER AGAIN.

THERE WAS THIS BIG OWL CHASING

ME.

HE WASN'T THERE TO HURT ME, HE

JUST WANTED TO TALK.

>> WHAT DID HE SAY?

>> HE WOULD TELL ME THINGS

ABOUT WHAT WOULD HAPPEN ABOUT

THE FUTURE.

>> I'VE HAD DREAMS LIKE THAT

BEFORE.

THE EVENT IN THE DREAM PRECEDES

THE REAL THING.

IT'S STRANGE.

>> YEAH.

BUT IF I COULD USE THE DREAMS,

LIKE IF THEY WEREN'T SO RANDOM,

THEN I COULD READ THEM, THEN

MAYBE THEY COULD HELP ME.

>> YEAH, MAYBE.

[EERIE MUSIC PLAYING IN THE

BACKGROUND]

[SOUND OF WIND CHIMES AND

THUNDER]

♪ VOCALIZING ♪

>> YOU LEAVING?

>> YEA, I HAVE TO GO.

>> LOOK, I'VE BEEN WITH OTHER

WOMEN BEFORE AND I'VE NEVER

FELT AS STRONGLY ABOUT ANY OF

THEM.

WHY ARE YOU RUNNING AWAY?

YOU ALWAYS DO THIS.

WAIT!

AT LEAST LET ME GIVE YOU A

[BLEEP] RIDE!!

>> LEAVE ME ALONE.

[DOOR SLAMS]

[PHONE RINGING]

[INDISTINCT CONVERSATION]

>> EWWWW.

>> IF YOU DON'T MOVE -- HOLD

ON, DON'T MOVE, KIND OF LOOKS

LIKE A MOON.

IT REALLY DOES.

♪ VOCALIZING ♪

[SOUND OF SOMEBODY CHOKING AND

TRYING TO BREATHE]

[SOUND OF EERIE MUSIC AND WIND

CHIMES]

[SOUND OF WOMAN CRYING IN THE

BACKGROUND]

[SOUND OF BIRDS SINGING]

[SOUND OF EERIE MUSIC AND WIND

CHIMES]

[SILENCE]

♪♪

>> MNTV IS A CO-PRODUCTION OF

IFP MINNESOTA, WALKER ART

CENTER AND TWIN CITIES PBS.

FUNDING IS PROVIDED BY A GRANT

FROM THE JEROME FOUNDATION.

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