Text: Belle McIntyre

How often have we witnessed puzzling, if not downright disturbing actions or encounters involving others or ourselves? As New Yorkers, we have more than our share of exposure to people acting out in unfathomable ways, leaving one to wonder what that was all about and how our own actions or non-actions affected the scenario. This unruly film consists of six such vignettes with different characters and locations, using actors and non-actors. The only thing they have in common is they all involve water and New York City locations.

The filmmakers own words best describe their purpose: “Each vignette explores how our attachment to intention separates us from our present experiences. It relies on the myth of fixed personalities and stands in opposition to the real momentary nature of life. The vignettes showcase interactions between New Yorkers ranging from chance encounters to misguided romantic exploits and voyeuristic pursuits.” The format of the film allows for us to be truly in the moment of each story since we get no background information or motivation details. It is very effective and allows for encounters of disparate characters to display compassion, hostility, aggression and, most often volatility as they move in and out of the moment.

The first episode opens with a wordless scene of a solitary man kayaking in the river and fishing out plastic bottles. It is meditative in tone. It is only after he leaves the river with his kayak that he has a random encounter with an Asian woman with a grocery cart full of plastic bottles that things go terribly and preposterously wrong. A young woman witnessing part of the scene draws her own conclusions and steps in. The rapid escalation leaves the Asian woman and the kayaker going off in opposite directions and the “Samaritan” lying on the ground bleeding as she calls 911 and sends selfies of herself on the street. Cut to next scene.

There is another episode where two stoners getting high in a parked car at an empty beach see a solitary woman strip down to a red bikini and head into the ocean. Once the guy who has just finished jerking off to the sight of the swimmer realizes she has not returned from the sea he becomes all alertness and concern and runs down the beach trying to find her. Finally, freaking out with the realization that she must have committed suicide and what to do, he leaves the scene wracked with guilt and confusion.

The episode with the old dude washing his car who gets into an encounter with a very young girl on her way to church is heartbreaking. When she almost gets harmed he becomes an avenging angel and comes to blows with the offender. He gets no appreciation for his actions which are righteous, but over the top. We leave him on the sidewalk bleeding all alone.

This is a fresh format which feels like a relic. Filmed in 16 mm, it resembles postcards from the edge, a document and a love letter to New York City, with all of its myriad oddities and quirky characters. It is a quintessential independent film and one which leaves its imprint on the imagination. I find myself traversing the city doing the most quotidian tasks and noticing all manner of potential encounters and musing on possible outcomes.