The Molasses Man & Other Delta Tales serves as an anthology of stories based off of Ahmad George’s life and experiences with people they’ve encountered here and not. These works feature scenes with existing and non-existing figures from folklore and mythology sourced from the American South, elsewhere, and created.
“Days” follows the everyday observations of the structures we interact with. The houses become more than just a residence, but become individuals themselves. The shadows start to blur the line of where the walls stop and where a presence might begin.
“But Then, Suddenly, I Was Looking From the Inside Out” is about “no compartments.” Everything is mashing together in life all the time — and while Lapossy longs for stability and order — it's all happening at once and they love how that feels — what that allows for. Not to be confused with multitasking, this is a kind of nurtured chaos.
Desert ants suddenly form a collective intelligence and begin to wage war on the inhabitants. It is up to two scientists and a stray girl they rescue from the ants to destroy them. Acclaimed graphic designer Saul Bass’s only feature film is a visually striking curiosity that, originally a box office flop, garnered cult status a year after its release. Interpreted by some as an ecological commentary, by others as political, and by others as a runoff of the anxieties of the time, Phase IV is as spellbinding as the movie posters and title sequences for which its director is known. Featuring an otherworldly score by composer Brian Gascoigne and starring Michael Murphy and Nigel Davenport as the scientists.
