The other half is something more mysterious, a mélange of footage flowing like a stream of the subconscious, moving underneath and alongside the more ordinary moments of Rebick’s life.
These twinned pairings of sound and image sometimes touch, but other times they lurch away from each other so that a third narrative can come into being, one created in the mind of the viewer themselves as they watch the depictions of events detailed in the film to unfurl.
The combination reminded me of another artist, Brion Gysin, who dated his epiphany on the nature of consciousness to a bus ride where the play of sunlight and shadow flickering across his eyelids induced a trance-like state.