A poetic license allows Samantha (Tetsuo Takita), a soul full of nuances, to experience all the emotions described by Fátima Guedes, our singer and poet, in her poems and songs. Jean Willys was invited to leave the film's final message.

Created as part of the Yonemotos’ Soap Opera Series (together with Green Card: American Romance), this postmodern tale navigates artistic and sexual crises in Southern California. Boredom and alienation, the banality of fantasies and reality and the need for idealised romance afflict the characters that wander through this narrative representation of the LA art scene. The pervasive cultural malaise is seen as conditioned behaviour — conscious psychological manipulation by the mass media. Against this dominant ideology, the film’s central figure Norman, played by Norman Yonemoto, approaches art as a means to ‘expose the derivative nature of the romantic ideal’ and ‘promote the examination of our personal contexts.’

“Buildings are like people to me, they tell stories.” For more than 50 years, renowned installation artist Donna Dennis builds under-scaled houses to metaphorically honor lost friends. Ironically, her own home studio comes under threat in a decades long struggle against the forces of real estate in New York City. Rich with quotations from hundreds of journals going back to the early 1970s, the film reveals the voice of a poet, searching for meaning and metaphor, questioning what happens to a person when they die and documenting the journey the work takes her on.

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A woman heads into an AA meeting, only for it not to be the AA meeting that any of them were expecting.

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A man and a woman with a gun run into a Genie and comedy ensues.

Set at a roadside café in the early morning in the Spring of 1947, a young boy and an older man meet by chance. The man relates a luminous tale of personal heartbreak and loss, and of his hard won understanding of the nature of love