A tangle of violent, symbolic gestures that regards economic exploitation with fetishistic, impossibly overdetermined abandon.
The film never reaches a climax because it’s always in one, distilling the lives of its characters to their tensest moments.
Get your motors running. Death moves at 24 frames per second.
borderline-mindboggling extent, Girl in Progress actively discourages thought.
What emerges most saliently from Mintzer’s interviews is Gray’s commitment to the idea of problem solution in creating his style.