BINS (2020) 

Assembled to be watched backwards or forwards

(jump to bottom to start from I) ↓

I. 

Opening Night

 

Going back to where it began to prove it was all worth it, Bins begins with a background noise that turns into a smorgasbord of tweaks, then some images, then the intro to the series. Someone is running around, and then we end on a dance off. 

II. 

Hailstorm

 

Something is living under the golf course at Botany Bay. Two friends discover a haunted acid jazz club in the bush beneath the buzz cut putting greens and a ghost that makes them dream of golf ball sized hailstones on their way home. 

III. 

There’s a difference between doing and thinking

 

Gloria enters a purple tinged pokies trance preaching the difference between thinking and doing. Moments later she finds her long lost dog, and bails on it.

IV. 

Beat

 

Emerging from a night they’ll never remember, covered in blood, Toad comforts themself with a scenic walk home. Filmed above Hellhole beach at the bottom of the Royal National Park and the Veale Gardens beat in Adelaide. 

V. 

The Bunker

 

Deep in a National Park, late at night Bart and Gloria and a cameraperson look for a meeting of a sinister group known as ‘The Energy’.

VI. 

Grand Paris + Dreams Do Come True

 

(Double feature) Bart (played by Andre Shannon) wakes up on the ‘pieton’ of Paris, on a cloudy day. A little wonder leads to a dance break, to reconnect with a loved one, and a loved moment, across time. Then, Raja tries to get bars in Old Dhaka during the flood season. An improvised mumblecore film shot in Dhaka, Dreams Do Come True turns everyday skipping through the streets into a goose chase through back alleys, across rivers, into old buildings and on top of roofs.

VII. 

Romance Apocalypse

 

Ellie (played by Ellie Bailey), on tour in L.A., finds it hard to make friends. Not with the client who falls asleep on her, not with the person who eats her out in a Bed, Bath & Beyond, but - in Santa Monica - she finds out if she can’t necessarily make friends on her level she can at least help someone else feel good in their loneliness.

VIII. 

Supermoon

 

During one of four real life supermoons, a group of people are transfixed by the moon’s sheer scale. Shot across four nights of full moon (some of the largest of 2020), this leads the people into a hypnotic frenzy, ending in someone drilling through a crystal.

IX. 

For Real

 

Meti and Gloria have been friends forever and are wondering if tonight's the night. The next morning back home the rest of the house wonders where she slept last night.

X. 

Meteors

 

Out on an empty freeway Bart (played by Andre Shannon) and Gloria (played by Gloria Bose) meet for the first time under a meteor shower.

XI. 

Dreams Do Come True (v2)

 

Raja tries to get bars in Old Dhaka during the flood season. Then, these scenes are fed through The Hidden Bay and uTorrent, without enough oomph from the connection, spiralling the images into mystery. Online communication and ‘illegal’ piracy opens windows; it is the most effective form of film distribution, and the most affordable way to watch art film. But, as the internet collapses, these connections are being lost.

XII. 

Invade Iceland (v2)

 

Horny world has exploded with no bodies, and no present. Time is hot, and soon Iceland will be too. Shown with permission from Cockyboys’ Jake Jaxson made from hundreds of still frames of torrented porn frozen in the download. Ending with a throwback, Invade Iceland (v2) aims for chill breathing instead of impatient waiting.

XIII. 

Jardin Suspendus

 

Bart has fallen through a portal and ends up in suspension - which is actually a place in Jardins Suspendus. Filmed across Amsterdam and Le Havre, our yellow beanie me-ro is searching for one thing; rain. 

XIV. 

Sling Ring

 

Caught mid-air watching uber-pools swipe left and right, two ghosts cast magic spells on drivers crossing the Colorado Road Bridge in Los Angeles. Transferring beams of their spirits to the carpoolers playing the music they like. The overlords float above trying to summon them into the next boring dimension but the music keeps them grounded and their energy inspires an unforgettable mid-uber pep-talk. 

XV. 

Vengeance

Vengeance is a scratch film made using a Steenbeck, 35 mm and 16 mm film stock. It blends nightmarish images with crashing percussion, inspired by the works of Peter Tscherkassy and Michael Snow. 

XVI.

Dark Mother 2D

Two friends travel to Hobart to get away from it all and take a break to think about their futures and do some healing, but things spiral out of control when they meet a local and break into the Aurora Australis; the big Antarctic icebreaker. 

XVII.

Toad

A victim of The Energy is kind of helped by three Lena Dunham cartoons caught inside a Lars Von Trier movie.

XVIII.

Mardi Gras

On one hand Bins is a project that lays bare deleted scenes from an upcoming feature by Garden Reflexxx. In this long form project we are introduced to Bart as he begs his partner to give him a place to sleep. Not only is his partner blocking him from home but a mob of turbo gay men are gobbling Bart up.

XIX.

Blue Car

Our two leads finally meet on their way to chase meteors and uncover a dark gay bashing cult. En route they jam in the car. Gloria begins to paint the inside car light in blue nail polish, turning everything into a sultry shade of blue. Topics range from pregnancy, how to fall asleep, and ‘are we there yet?’.

XX.

Cold Power

The washing machine's front has fallen off and Gloria has to move the whole thing by herself to the back lane. This film is a feat of strength coupled with effortless practices.

XXI.

State Festival

The Meeting Place, Womadelaide, The Blacktown Medieval Fayre, The Sydney 2019 Climate Strike, La Sing, The Universal and the final c-r-a-n-k mob bike party in Los Angeles bring together outsiders, We follow some characters down a festival wormhole.

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XXII.

Angel

Scruffy Clay talks about his greatest fear - werewolves.

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XXIII.

Carlos Reygadas

Mexican existentialist filmmaker Carlos Reygadas narrates the first images captured and binned from the feature project we have been making with and for our friends for the past year. While Andre was in Rotterdam interviewing Carlos, Jen was using the freedom to organise, shoot and explore potential storylines with the actors in a way that by accident turned out to be not dissimilar to the films of Reygadas in style and spirit.

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XXIV.

Snakes in the Grass

Snakes In The Grass follows a boy making an interview podcast about a cheating/lying snake. Inspired by Serial, Philippe Garrel, and Fag noir.

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XXV.

In Batland

There’s a storm coming and it started with the bats. There’s no better time to focus on the flying animals that burst out of Sydney trees every night. Bats, unlike other animals, can seem dead, immobile, on the ground, but have the ability to be brought back to life. In this time where bats have the worst reputation, they may just show us how to rebirth.

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XXVI.

Airplane Cemetery

Bart’s fear of flying lands him in a dream within a destroyed airplane graveyard. He stumbles around, trying to conquer his fear that has come to life. The planes have been hollowed out. He has no idea how he got there or how he will survive being so close to dead planes.

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XXVII.
Jasper's Studio Elegie

Spiralling, Gloria visits Jasper who set the stage for this journey and challenges him to be scary, he sings her a song.

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XXVIII.
Bart's Nightmare

After 27 episodes Bart finally tries to get to sleep but there is so much buzzing going on in his brain and a vegan santa from Vancouver visits him with some scissors. 

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XXIX.
Night on Floating Island

 

The unofficial prologue film in the four part Butt Moon (Faggot) Trilogy and the first film that we worked on together about a pro-blader looking for their girlfriend on their first night in Sydney for a vigil. Drawing emotionally from Sydney's strong cruising culture, Pasolini's Arabian Nights and Nicolas Roeg, the film is the first in a series of films about an outsider experience of the Gay Capital of the World™.

XXX.
Huge Bins

 

The last film is a slippery slope of bloated blends; in it, our hard drives corrupt and spit out whatever it can handle which is nothing. Crashing under the weight of nothing.

Bins, Seventh Gallery [online], April 2020

30 short films, varying length, one screening per day

 

 

 

Seventh Gallery approached us in late 2019 to curate 30 films over 30 days, one film per day for the whole month of April 2020.

 

The 30 films were birthed from personal friendships, something that now feels more nurturing, giving, more valuable, and more necessary than the apparatus of filmmaking itself as means to make anything.

The purpose of Garden Reflexxx is to liberate films of their staunch structures. This ongoing practice of fuck-you aesthetics aimed at the concept of ‘art film’ filmmaking made us question definitions we make and learn, of ‘looking good’, and how to relate to unaffordable production methods. Is film ‘making’ dictated by evasive power structures, ideas that tell you right or wrong, instead of true and fake? Can images free themselves of the price tag? Inspired by the writing on resourceful cinema by Lucie McMahon and the ethos of the Dead End Film Festival.

 

We’re making ourselves routinely self-actualise. The films aren’t a documentary of our dream selves but instead somewhere for us to flourish, a place to pretend we are in the films of ourselves.

A place to hide, ethical escapism, a space where no one ever really dies.

 

Sometimes you don’t get to be the person you hoped to be, so you make a filmic universe where your dream self can be centre frame.

 

When you’re living inside a film your contribution is mimesis or a beautified piss-take inside an intangible object hungry for value.

 

We think it's 'manic realism'.

 

If writers have nightmares their latest book will just end up empty pages, filmmakers (at least, André feels this way) are anxious how their cheapness can survive the pretty privilege of Cinema.

 

Bins is our way of trying to survive industry expectations while living within the resources at our fingertips, ridding ourselves of shame.

 

Our motives were to intertwine filmmaking with an imaginary experience, while cheerleading the integrity of cheap processes - however that looks and sounds, without judgement. 

 

There was a rhythmic practice to Bins which took shape around two ideas: simplicity and action.

 

Not waiting for any particular order or trying to inflict it onto images. Instead, Bins became a catalyst for filmship artmaking; an embrace of instantness through which the impulsive becomes action, which becomes result, treating raw footage with the same integrity as the end product so nothing leaves the sketch phase; permanently stuck in a foetal state.

 

What do the sounds want?

 

Beginning with the unknown and searching for a way out/through, our interest in directions came into question - like how do you finish a sentence when you start it for the sake of talking. How do you make sense of something that isn’t meant to exist, but does anyway? 

 

To do this we were forced to find something, move it, because its own freedom is the only way it can exist, honestly. Lol Jonas Mekas didn’t die for nothing.

 

Bins is show-and-tell. 

 

30 films over 30 nights, old rushes ripped open. The opening titles are in roman numerals, ‘intentionally’(?).

Exposing our deleted, unused, rejected, or discarded footage from cutting room drive - the title refers to trash cans built into software.

 

While drawn to mystery and joy, Bins sifts through rushes. Each film is a practice of relinquishing shame while simultaneously exposing images for their truthness - unprotected - to disrespect.

 

Each work is made with available everything; available performers, improvisation etc.... It’s an embrace of nothingness.  

 

As our most important mentor told us, it's wallpaper.
 

That’s all. ☺