THE CHIMERA OF M.

Entering the already unfamiliar virtual space of a stereoscopic digital animation, viewers find themselves behind the eyes of an unseen and distinctly unreliable protagonist, so evasive that he and his motives can hardly be identified. Arriving by train at a town where he had once lived, he moves through the old haunts seemingly attempting to re-engage with two abandoned relationships, one with a man, one with a woman, yet frequently appearing simply to become more engaged with quotidian objects made hallucinatory by close scrutiny. The very fractured and expressive manifestation of the three-dimensional space in this stereoscopic film, combined with the protagonist’s point of view, puts the viewers inside these contorted relationships. The pounding and intimate interactions of the characters have to be endured, by being pushed through each situation locked into the identity of someone who refuses to participate or maybe even to be.