Directed by Jon Moritsugu
68 minutes
In English with English subtitles

From Jon Moritsugu the Asian-American director of Terminal U.S.A. comes this weird hybrid movie that reaches out in all directions and pulls them all together in this bizarre cocktail. Set in a slightly futuristic postmodern world, Moritsugu conjures up a fever dream of characters with names like Satellite, Cake, X-Ray Spex, and MI6. It was shot with a shoestring budget on the open streets of San Francisco, and its a wild journey.

This film is trashy, colorful and apocalyptic… the kind of style our mainstream movie industry absolutely hates—it's visual kitsch, and weaponizes camp. It's a neon blast of teenage angst, horny mothers, destruction, illumination, dream-monologues. In fact the entire decor and haywire scenario of this flick reflects our modern globalized world—welcome to the hell of consumer society. Director Moritsugu scrambles geography, culture, and identity... in this case it is a mashup of England, America and Japan.

It stars a gutsy and glittering Amy Davis, who can be seen as grungy or beautiful, depending on your perspective… but she nevertheless steals every scene she's in. When a filmmaker works with so little money as in this film, all their weaknesses are exposed—the creative part is making those weaknesses into strengths. Because Moritsugu has no chance to get his movies distributed in any meaningful way, his films have a sense of freedom and abandonment that other filmmakers can't afford. 

The whole deranged story is wrapped together with a full-throttled soundtrack of indie music from both America and Japan, featuring bands like Unrest and Karyo Tengoku. This flick is campy as hell, but also delivers a biting message. 

+ Short film before the feature: La résurrection des natures mortes (2012) by Bertrand Mandico, starring Elina Löwensohn -15 minutes