Lenny Dodge-Kahn

Every year, a family home is turned into a haunted house. The purpose is not only to be as terrifying as possible, but also to create a spectacular attraction to draw the neighbors in. The situation grows increasingly complicated, broken and distressed as the family’s problems intercede in their plans and as their real lives become the film’s true and overriding scary haunt.

In Big Bang (Song of the Cosmic Hobo), Harry Dodge appears as a low-rent automaton in an urgent quest to launch a small group of cosmic particles back into a state of pure potentiality. In this film, a cyborg (a shirtless Dodge with a Chroma key green cardboard-box robot head) purchases a particle board cabinet at IKEA and, after gloriously smashing it to bits with a sledgehammer, heads out to scatter the dust at a Grand Canyon scenic overlook. In swift order, the work invokes questions about consumerism, materiality, and the possible fecundity of dissolution or destruction.

Two teenagers traverse a post-apocalyptic California in this tale of an inherited wasteland, unprepared resilience and compassion, which points to the beginnings of a new future.