Yolande Brener

When churlish mobster Albert Spica acquires an upscale French restaurant in London, he dines there nightly, effectively scaring off the clientele with his bad manners. His wife, Georgina, is especially disgusted by him, and soon begins an affair with regular guest Michael. Despite their best efforts to keep it secret, Spica learns about their trysts, and he plots a terrible revenge.

A nearly wordless visual narrative intercuts two main stories and a couple of minor ones. A woman, perhaps the Madonna, brings forth her baby to a crowd of intrusive paparazzi; she tries to flee them. Two men who are lovers marry and are arrested by the powers that be. The men are mocked and pilloried, tarred, feathered, and beaten. Loose in this contemporary world of electrical-power transmission lines is also Jesus. The elements, particularly fire and water, content with political power, which is intolerant and murderous.

Three blondes from another planet land on earth to conduct research into romantic love

Brener and Imara fill their time with frenetic activity at home during the Corona pandemic. As lockdown rules are eased they brave it and go outside. It’s scary though, and they return rapidly to the virtual cocoon they’ve become used to. Beyond the immediate time-frame in which it’s set, Y&I Go Outside speaks to the increasing recession of human life from nature to the artificial and also questions what is more real, an unconnected ‘natural’ life, or connectedness via the virtual.