Mireya Lucio

Isaac has seen better days. His acting career is tanking, his blind girlfriend of 10 years plans to leave him, and his own family singles him out as a constant disappointment. Even as he takes a chance on new romance, he struggles to define his place in a world that has seemingly turned against him.

A paraplegic man leaves home for the first time only to discover that life on the outside is not like he had imagined it.

In Comma Boat, we're stuck in a mock-authoritarian fantasy--a power trip. The film centers around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. As if a post-human, post-gendered reincarnation of the Fellini character in 8 ½, the director gloats and frets about professional and ethical transgressions. "I know I lied to get ahead," he admits at one point. "I've made up so many different alphabets just to get ahead in my field." The director is fancier now, but the fear nags that he might be "repeating" himself "like a dumb soldier ova and ova and ova and ova." The meta-connection to the artist's own career, while obvious, is also a decoy. All art, at some level, is about the artist. Here, reflexivity is the surface level, providing a decodable veneer that encases something more unsettling and complex. Single-channel and 3-channel versions.

The film focuses on the life of Jenny who has, according to many of the other characters, become too “left-of-center” while pursuing her interests.

HOW ARE WE is a collectively-created performance consisting of fifteen 90-second solos that respond to 10 prompts proposed by artists Emily Mast and Yehuda Duenyas.

A 30-minute broadcast from the public access station WEVP-TV. An accompaniment to "Un Pueblo De Nada," a short game made as an interlude in the episodic adventure game "Kentucky Route Zero" by Cardboard Computer.