Filmography

Nightfall, 1984

16mm, color and b/w, sound, 1:30 min

"Her cinema is marked by a lush sensuality, a concern for light, play and artfully woven soundtrack." – Barbara Hammer, Yesterday and Tomorrow, California Women Artists.

Night in a Foreign Land
The American suburb only ever dreams a single dream: it is of a teenage girl, virginal and protected in the sanctuary of her bedroom lined in pink. The fervency with which that dream is secured establishes precise boundaries that are echoed in the little two acre plots of land that divide up the suburb. For an unwelcome stranger, those boundaries become real only when they are trespassed upon, and the sexual principles they are meant to demarcate violated. Long ago, I was one such stranger, walking at night at the edge of that suburban dream in a residential neighborhood of Riverside, California. For the inhabitants there, sleep was a river that flowed into the eye of the cop. One night, I was almost seen by this eye. But I slipped into the shadows in time, and the squad car passed by. When it was gone, I looked around. There was a house with a single light on. I crept up to the window and recognized the sad, lonely light of a television, its rhythmic pulse a double of whatever was pulsing through my own sad, lonely teenage veins. I will not say what I saw there illuminated by the television. But I can say that, as the hours swelled buried in the good soil of the night, and as the night itself groaned to tighten its grip, and as both became absolute upon one another, I acquired in the course of this deepening, a deep and sudden sympathy with several things that spray, shoot and flow: sprinklers on a front lawn, moonlight out of the eye of a predator, exhaust from a cop’s car, and the blood that proves to all that the dancer has begun to dance. — published poetry of Keegan J. Goodman.