Two sisters are thrown out of their isolation and onto opposite coasts of America by a terrifying cosmic entity. On their quest to reunite they discover their own supernatural abilities and meet many strange characters.

A delirious movie installed inside a ghostly barn made with prefabricated materials. The oscillatory movement of the rocking chairs on which visitors sit partly helps to alleviate the syncopated rhythm of the montage and the frenzy of images that follow. A series of brassy characters in wigs and thick make-up map the various locations of the film: a lazy river, a hobby barn, and forest watchtower.

Shot in 2013 - In 'honor, of cause fake news - less gravity here - don't bird watch with a gun - remember your dreams before they remember you : the sloppy mix, bullshit version coming near soon USA.

Shot in a former Masonic temple in Los Angeles – a five-story warren of large, cavernous rooms akin to a windowless convention center – Temple Time unfolds like a horror-movie group expedition in a campsite wasteland.

Permission Streak opens with a question: “Can you tell the difference between a camera and a camera?” Shown in a sculptural theater that combines aspects of gymnastics and aquatics facilities, the movie jumps jarringly between a string of unrelated vignettes, highlighting the potential for encountering confusion or deception in seemingly innocuous situations. Characters perform acts that suggest community participation, but do so under the constant threat of rejection and a sense of dread permeates the movie.

The video displays Fitch and Trecartin's signature style of ludicrous cut-scenes and ironic hyperbole. “Yielders Path” also features swerving point-of-view shots from a quadrocopter, often focusing on ceiling fixtures with stoic reverence. The plot oscillates between mundane detail and highly saturated shenanigans, reiterated by a bazaar soundtrack that punctuates atmospheric compositions with pop music. “Yeilders Path” is presented on the ceiling of a black-curtained room, positioned with the same perspective of much of it’s subject matter. A large futon and theater seats nestled between fake plants provide an inviting viewing environment.

In Comma Boat, we're stuck in a mock-authoritarian fantasy--a power trip. The film centers around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. As if a post-human, post-gendered reincarnation of the Fellini character in 8 ½, the director gloats and frets about professional and ethical transgressions. "I know I lied to get ahead," he admits at one point. "I've made up so many different alphabets just to get ahead in my field." The director is fancier now, but the fear nags that he might be "repeating" himself "like a dumb soldier ova and ova and ova and ova." The meta-connection to the artist's own career, while obvious, is also a decoy. All art, at some level, is about the artist. Here, reflexivity is the surface level, providing a decodable veneer that encases something more unsettling and complex. Single-channel and 3-channel versions.

In Junior War, a throng of highschoolers congregate at night for a party in the woods sometime in the year 2000. A band plays, the kids get drunk, the boys and girls tepidly flirt, and groups deploy into cars for the purpose of destroying mailboxes, tee-peeing houses, breaking lawn ornaments, and sparring with the police. The film is composed entirely of footage Trecartin took during his senior year of high school in exurban Ohio; as such, it baits the viewer with genealogical significance.

The film focuses on the life of Jenny who has, according to many of the other characters, become too “left-of-center” while pursuing her interests.

In Item Falls, we are peaking. We start out at a casting call, but before long we're firmly in the grip of hallucination, shedding our anxieties and evidently regressing to the animation era, a time when stunt chickens were mere chicklets. Friendly archetypes float in and out of what seems like our bedroom. The red-headed Jenny has returned, but this time she's squeaky and trusting. Unlike in Center Jenny, here our perspective is literally centered. The camera seems to be the in middle of the room, which is good, because we're too blissed out to move. Luckily, our hallucinations look directly at us.

The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait's vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls. Separately, it is a production commissioned for Voy, a pigtailed pseudo-Olsen Twin, by her prop lesbian parents. Voy moves in and out of the action, blurring the boundaries of what is inside and outside reality and fiction. There is also the spectacle of beautiful, tortured Sammy B, who promises suicide every day, broadcast online from her pink bedroom. Although her fans watch her to hate her, what they love is to see her feel, and no one will join the audience that would allow her to permanently drop out.

Roamie View: History Enhancement reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood's (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present.

In P.opular S.ky (section ish), a character played by Trecartin informs us that she wants ‘to live in a world where narration is the devil’. The ability to script oneself is an inalienable right, and anything that opposes that right must be rejected.

Temp Stop, as the title implies, has a disjunctive quality that separates it from the other parts of Re'Search Wait'S. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal--in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use The Re'Search to brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time.

In Ready, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a "career" in favor of a "job," the execution of which Trecartin calls a "work performance." A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment. A third type of worker, Able (Lizzie Fitch), more fluidly adopts and discards the gestures of job and career, positing herself as a hobbyist who contrives the situations and outcomes she needs to keep her wave going.

The video revolves around an unending "meeting" - a busy, aimless meeting that goes in circles to evade a traditional narrative arc. The meeting is essentially a party, and the entire company bumps and grinds with itself everywhere from in boardrooms to airplanes. K-Corea INC. K processes ideas of automation and containment, embodied by these hyper-controlled locations and by the seemingly looping actions that take place in them. Meetings, where discrete parts of a corporate body come together to attempt to "get on the same page," display the futility of corporate unity, and of individual purpose or voice remaining intact within a corporate culture.

Trecartin returns to his conception of family-as-business-enterprise, casting parent figures as managers and executives on one end of the spectrum, estranged children as freelancers on the other. The director plays four sisters named Ceader, Britt, Adobe and Deno, the boundaries of whom are indistinct. It is difficult to tell where one sister ends and the next begins. The sisters' questing—for identity, for romance, etc.—leads them on an episodic series of adventures, several of which are defined as "premises." A Trecartin premise plays out as a predetermined situation where the character initiating it has already set the tone, terms, and trajectory of the experience in their mind. The actual, lived event serves only as the shading-in of the outline.

Dazzling and raucous, Ryan Trecartin's first feature-length video takes cues from chat rooms, social networking web sites, YouTube, John Waters, and Pee-wee’s Playhouse, and then turns them upside down and inside out to create an entirely singular video genre. In I-BE AREA, Trecartin intertwines the stories of an incredible ensemble cast to follow a day in the life of I-BE II, the rebellious clone of I-BE.

Trecartin describes (Tommy-Chat Just E-mailed Me.) as a "narrative video short that takes place inside and outside of an e-mail." Trecartin's intense visualization of electronic communication is inhabited by a cast of stylized characters: Pam, a lesbian librarian with a screaming baby in an ultra-modern hotel room; Tammy and Beth, who live in an apartment filled with installation art; and Tommy, who is seen in a secluded lake house in the woods. Pam, Tommy and Tammy are all played by Trecartin, who, wearing his signature make-up, jumps back and forth between male and female roles. Totally self-absorbed and equipped with vestigial attention spans, the characters are constantly communicating with one another on the phone or online.

Ryan Trecartin’s film A Family Finds Entertainment is a camp extravaganza of epic proportions. Starring Trecartin’s family and friends, and the artist himself in a plethora of outrageous roles, A Family Finds Entertainment chronicles the story of mixed up teenager Skippy and his adventures in ‘coming out’. In this over the top celebration of queerness, Trecartin’s film mines the bizarre and endearing in an unabashed pastiche of ‘bad tv’ tropes. Cheesy video special effects, dress-up chess costumes, desperate scripts, and ‘after school special’ melodrama combine in the fluency of youth-culture lingo, reflecting a generation both damaged and affirmed by media consumption.

Trecartin's extraordinary digital manipulations reach a new level as he speculates in vivid animation about reproduction, sexuality, and contemporary moralities. Collapsing footage appropriated from television, the Internet, and pop culture, Trecartin and his elaborately costumed collaborators manufacture an alien yet familiar reality. Inside this startling new video world, technophile gods wearing acid-washed denim argue about the future of gender and produce cryptic TV commercials. In a surreal backyard town meeting, characters deliver disjointed polemics assembled from clashing phrases that could have originated in ad campaigns, instant messaging conversations, or twisted episodes of syndicated science fiction. Constructed from the raw material of disposable media clichés and fads, Trecartin's narrative leaves us to answer the riddles he poses.

Trecartin and his collaborator/co-star Lizzie Fitch ponder the messages delivered by the most banal forms of mass media and pop culture in their own unique version of a music video. They voice questions in song and dance segments that feature a deliberately ill-fitting pastiche of discarded fashions of the past two decades and recycled pop-music clichés. Totally immersed in their meticulously crafted private universe, Trecartin and Fitch coyly point at the gaudy artifice surrounding us in our own.

A short film showcasing the artist’s maturation in experimental video which would culminate in his debut feature film – “A Family Finds Entertainment.”

In Yo! A Romantic Comedy, Trecartin borrows clichés from hip-hop culture and genre films to craft a dark, dream-like narrative that veers from comic melodrama to goth fantasy. Applying his signature digital editing and delirious sound processing to remarkable effect, Trecartin creates an alternative narrative universe that suggests a kind of psychodramatic hyper-reality.

Trecartin crafts a fantastical narrative about a girl whose obsessive personal utopia is disrupted. Trecartin's collaborator, Lizzie Fitch, plays a girl obsessed with Valentine's Day. Everything in her hyperactive, sped-up world revolves around Valentine's Day: red, white, and pink love-themed decorations cover every surface; heart shapes abound; Valentine's Day treats are everywhere. Her private festivities suddenly go awry as a hoard of Christmas-themed intruders appear and take her hostage in her own apartment. Gagged and bound, she is forced to watch while her ecstatic but sinister captors stage a frenzied Christmas intervention.

This rare collection of Ryan Trecartin's early short films, produced as a student at the Rhode Island School of Design, showcase the artist's maturation in experimental video which would culminate in his debut feature film - "A Family Finds Entertainment." Included are seven of Trecartin's titled short films, ranging from 2001-2003, and a number of secret extras scattered around the DVD menus. While there is no official information to be found about this DVD, the elaborate menu graphics and wildly varied original sound design point to this DVD as potentially a form of portfolio, allowing the artist to showcase their early work alongside original digital manipulations.