Editing
A mystery man brings together a group of dead, gay artists to investigate a police response to the dilema of wash-room sex in Toronto. The artists have seven days in which to report on the ethics of police tactics. The artists infiltrate the police only to discover that they themselves are under surveillance as a political subversive group. The artists explore and report on the evolution of toilets and wash-room behavior.
In March of 2017, Baltimore was rocked by one of the nation’s largest Police corruption scandals when seven members of the elite Gun Trace Task Force unit were federally indicted on racketeering charges. Defense attorney Ivan Bates wasn’t shocked by the news because for years he had been listening to the victims of these crimes and had been trying to bring down the corrupt sergeant. I GOT A MONSTER is the true story of a cat-and-mouse game in an upside-down world where the cops are also the robbers.
Confusion, underlying meaning and unspoken truths are often associated with the dialectic of sexual communication. Mingled with the intensity and unpredictability of a “one night stand,” they generate unique sensations – mixed emotion, risk, and excitement. The film employs formal devices in a manner that is exceedingly simple, yet very effective. Its subject matter, sexuality and communication, gains depth and poignancy through the artist’s decision to shoot the film’s three scenes for projection in a “double screen” configuration.
