FILM

Set among an isolated community in a remote landscape near the Russian border, Boundary evokes a space of ambiguity, a psychogeography, an absence of personal histories. It is the first installment in a tetralogy of films based on a statement by the Iranian writer Sadeq Hedayat: “In life it is possible to become angelic, human, or animal. I have become none of these things.” Filmmaker and curator John Gianvito who recently cited Boundary as one of his favorite films of the last decade describes it as “a brooding non-narrative mood piece shot in an indeterminate East European twilight that brings to mind the lyric intensity of Georg Trakl or Vladimir Holan.”