Synopsis: A single-shot, choreographed portrait of the Foley process, revealing multiple layers of fabrication and imposition. The circular camera path moves us inside and back out of a Foley stage in Burbank, CA. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are, by extension and quotation, governmental violations of individual privacy. The scene being foleyed is the final sequence from The Conversation where Gene Hackman's character Harry Caul tears apart his room searching for a 'bug' that he suspects has been covertly planted. The look of Caul's apartment as he tears it apart mirrors the visual chaos of the Foley stage. This mirroring is also evident in the dual portraits of sonic espionage expert Caul and Foley artist Gregg Barbanell, for whom professionalism is marked by an invisibility of craft. And in the doubling produced by Hackman's second appearance as a surveillance hack, twenty-four years later in Enemy of the State. These filmic quotations ground Hacked Circuit, evoking paranoia, and a sense of conviction alongside a lack of certainty about what is visible. The complication of the seen, the known, the heard and the undetectable provides thematic parallels between the stagecraft of Foley and a pervasive climate of government surveillance. *Foley is the art of reproducing sound effects for cinema in real time. Its purpose is to complement or reproduce sounds created on set at the time of filming (aka field recording). Most films use a combination of foley and field recording. While watching a film clip, the Foley artist produces incidental non-dialogue sounds in sync with the action, e.g. footsteps, keys dropping, fabric rustling, glass breaking, doors closing, etc. The work of a good Foley artist goes undetected by the audience.

Michael and Darren have a very successful true crime podcast. But when trying to get one of their biggest guests yet turns into a bizarre obsession for Michael, the lines between nightmare and reality begin to blur.

A young woman finds her life turned upside down when she rejects the advances of a teenage hacker.

Follows the story of a family who loses everything to a prolific and elusive hacker, aptly named ‘The Chameleon.’ Parents Amy and Mark have $20,000 stolen, and their kids Ralph and Freddy get their entire digital lives hacked — social media, video game items, even their pointless online homework! When the bank, social media platforms, and law enforcement aren’t able to help, the family takes matters into their own hands.

Darren gets the job of a lifetime when Hollywood comes knocking, and wants him to write a script based on the events of a traumatic experience he had. Like a fish out of water, Darren begins to spiral and disassociate much like his friend did years before.

A behind-the-scenes look at the crucial last four races of the 1981 Can-Am season.

Mía is applying for a job as a photographer in Vic's studio, but she manages to show up when the hip, famous pro is having a really bad day: his model girlfriend Ana has just dumped him. He decides to leave Barcelona for 1,000 days and suggests that Mía take his place. This 1,000-day stint sets in motion all kinds of mini-stories, tales of love and romantic misadventure, creating concentric circles which fleetingly fill Vic's studio with the colorful characters who turn up for various photo shoots, modeling work and castings. The models let themselves be hauled through an artificially-created world, putting work before love, yet also seeking affection in an unreal world.

"I began this project with no concept other than to see what might come of shooting some film over the course of a year. I ended up with a sort of travelogue consisting of ten sections edited in the order in which they were shot, beginning in spring and ending in winter. Some of the footage documents my travels over that time period, some documents travelers visiting places I called home at the time of filming. Additionally, some of the footage is made with actors playing travelers for the camera. Towards the end of the edit I decided to throw in some older footage I had in order to round out the picture. Originally a silent film, I have added a soundtrack mix by Sean Byrne of Bugskull." -SD

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