The gaze look into the camera demonstrates a consciousness that there is someone looking back before the images were created. (Siegfried A. Fruhauf) 　　« Kinan di leid wider bled schaun heid / kinan di leid wider bled schaun. »* 　　This couplet, which is repeated like a mantra, forms the textual structure of BLED by the group Attwenger. In the course of the song it successively condenses into a loop which is underlined by the rumbling rhythm and the merciless electronic and accordion passages. Almost like a prayer wheel the invocation wobbles until its meaning and intonation begin to dissolve in the acoustic environment. 　　A similar process takes place on the visual level. Beginning with a shot of a man´s head (that of the filmmaker) which turns slightly to face the viewer, Siegfried A. Fruhauf alters the film in a number of steps. The picture dissolves into its grain, digital crosshatching or self-reflection, concluded by reworking in the style of drawing and painting with oil applied thickly and gesturally: The gaze into the camera – the faux pas which ruins the classic fiction-film shot – is visually disassembled, as a result of which this ur-scene of a break with fiction begins to decompose in a rhythmically eloquent manner. In all these variants the head is repeatedly dismantled into material textures that form a kind of formal structure underlying the concrete object. 　　"Look stupid" means, in the Austrian vernacular, not only to lose out, but also to stand around with gaping mouth, to wear a facial expression which incites aggression. Fruhauf works with the literal meaning of the latter to create a visual counterpart, which could be said to defuse this look. All stupidity is limited by sufficient deformation. 　　(Christian Höller) 　　Translation: Steve Wilder 　　* Können die Leut´ wieder blöd schauen heut´ / können die Leut´ wieder blöd schauen 　　(they´ll look stupid again today / they´ll look stupid again.)

The gaze look into the camera demonstrates a consciousness that there is someone looking back before the images were created. (Siegfried A. Fruhauf) 　　« Kinan di leid wider bled schaun heid / kinan di leid wider bled schaun. »* 　　This couplet, which is repeated like a mantra, forms the textual structure of BLED by the group Attwenger. In the course of the song it successively condenses into a loop which is underlined by the rumbling rhythm and the merciless electronic and accordion passages. Almost like a prayer wheel the invocation wobbles until its meaning and intonation begin to dissolve in the acoustic environment. 　　A similar process takes place on the visual level. Beginning with a shot of a man´s head (that of the filmmaker) which turns slightly to face the viewer, Siegfried A. Fruhauf alters the film in a number of steps. The picture dissolves into its grain, digital crosshatching or self-reflection, concluded by reworking in the style of drawing and painting with oil applied thickly and gesturally: The gaze into the camera – the faux pas which ruins the classic fiction-film shot – is visually disassembled, as a result of which this ur-scene of a break with fiction begins to decompose in a rhythmically eloquent manner. In all these variants the head is repeatedly dismantled into material textures that form a kind of formal structure underlying the concrete object. 　　"Look stupid" means, in the Austrian vernacular, not only to lose out, but also to stand around with gaping mouth, to wear a facial expression which incites aggression. Fruhauf works with the literal meaning of the latter to create a visual counterpart, which could be said to defuse this look. All stupidity is limited by sufficient deformation. 　　(Christian Höller) 　　Translation: Steve Wilder 　　* Können die Leut´ wieder blöd schauen heut´ / können die Leut´ wieder blöd schauen 　　(they´ll look stupid again today / they´ll look stupid again.)

The dead feast on human flesh and stop at nothing for it. The living, confined to the dark corners of the world, must do what it takes to survive. Dying is the only thing left to do at the end of the world. Now Ed, Matt, Joe, Natalie, Sam and Mary will try to survive. Who lives depends on who kills first.

After his estranged brother’s mysterious death, Ethan goes on a journey to Las Vegas for the funeral and unravels a dark web of crime, forcing him to confront his past as he delves into the city’s gritty underworld to uncover the truth.

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