Director | Laura Harrison |
Scriptwriter | Par Parekh |
Scriptwriter | Michael Vazquez |
Producer | Eugene Sun Park |
Art director | Laura Harrison |
Composer | Laura Harrison |
Composer | Faun Fables |
Composer | Jim Becker |
Editor | Par Parekh |
Sound Designer | Alex Inglizian |
Gregory Hollimon | |
Sarah Farinha |
LAURA HARRISON lives and works in Chicago. Her animations focus on marginalized, social outcasts with their own sub cultures. These fringe characters provide a focal point for her concerns with diaspora, trans humanism, gender and the loss of touch in an overwhelmingly visual world. Her films have shown at various festivals internationally including The New York Film Festival, Ottowa International Animation Festival, Animafest Zagreb, LA Film Festival, The Chicago Underground Film Festival, Kerry Film Festival, Japan Media Arts Festival, Boston International Film Festival, Florida Film Festival, GLAS, Melbourne International Animation Festival and many others.
2011 / No Such Luck 2013 / Tears For Narcissus 2015 / Lingerie Show 2017 / Little Red Giant, the Monster That I Was 2016 / Bottomland 2022 / Limits of Vision
I wanted to investigate the state of mind of women in the early seventies, when they were entering the work force in classically male domains. I was already in the process of adapting The Limits of Vision, written by Robert Irwin, during the 2016 election. Struck by the backlash against Hilary Clinton, I recommitted to the project and tried to view it through the lens of our current ambivalence about white feminism. I was also intrigued by the book’s subtext of mortality and the metaphysics of non-attachment, with dirt and dust the visible signs of our inevitable decay. To me, it spoke to our current preoccupation with purity especially post Covid. Written in 1985, it is fascinating to see how applicable it is today. Because Irwin does such a good job creating a sympathetic character in the housewife Marcia, he makes the case for empathetic forays into otherness.