On the Clickity-clack Express it's clear I'm always under duress, unless I forget.
Related Movies
We Could All Do With a Little Back & Forth As Far As It Concerns the To & Fro of Everywhere Each of Us Go (2017)
(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
Grand Entrance to the World of the Dead (2017)
Radical recurrences & rancorous requests raze my daze.
Hiding Under a Copy of the Strokes' Single 'Under Cover of Darkness' (2017)
Hiding inside&out, writhing about, taken out&in.
Hope This Goes Over Well/Living in an Empty World (2017)
I really hope this is well-received. I really hope there's some sort of reprieve.
Firing Flares @ Unnoticed Glares (2017)
Shadows frighten what one oughtn't be gripping (that thing before/hind you).
What Was It Supposed to Be Like? (2017)
Rather pointless, rather stilted, fetid; not what we want us going after.
Aridity Enclosure 1 (2017)
Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.
Devil Come to Hell and Stay Where You Belong (2008)
From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.
The Two (2002)
Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.
Redland (2009)
As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.
The Twenty-One Lives of Billy The Kid (2005)
Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.
Hideo, It's Me, Mama (1986)
HIDEO, It's Me, Mama is a psychological melodrama that introduces narrative and structural devices that are integral to Idemitsu's work. Exploring the flawed universe of the contemporary Japanese family, she focuses on a woman's identity as mother through mother-child and husband-wife relationships. Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. In a cogent metaphor for familial relations in the media-saturated culture of contemporary Japan, Mama can only communicate with her beloved, absent son through the video screen. Idemitsu's poignant irony is embodied in the scene in which Mama, blind to her husband's needs, caresses Hideo's video image. (Electronic Arts Intermix)