This first feature-length film by Vicki Bennett tells one story of two journeys to the promised land, the world where dreams can be made real and reality is like a dream. The relationship between narratives holds surprising coincidences and surreal tangents and departures as they both dance their (not so) merry dance to their shangri-la. The films sit side by side, staying loyal to the linear narrative, but editing the longer film to the length of the shorter. The film was structured so that the crossover point from monotone to colour in imagery occur at the same stage. This method of story telling is challenging, sometimes jarring, but one’s patience is paid off with delightful harmonies and synchronicities both in images and narrative occurring far more than either pure chance would dictate or the imagination construct. This film is inspired by the Chance Operations of John Cage, Cut-Up techniques of Gysin/Burroughs and Kurt Schwitters, and single shot/durational films (Andy Warhol, James Benning).
“Happiness for everybody! . . . Free! As much as you want! . . . Everybody come here! . . . There’s enough for everybody! . . . Nobody will leave unsatisfied! . . . Free! . . . Happiness! . . . Free!” – from Roadside Picnic (the novel that Stalker is loosely based on)
This movie has a bit of a story attached to it - read about it here: Vicki Bennett reflects on The Mirror, unlocking the archives and a curious cease and desist order