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.

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.

A down and out actress secretly sells a reality show about her friend, a delusional eccentric, a once famous creator of reality shows, who now believes that his entire life is being filmed by hidden cameras and that he is the star of his very own reality show.

In 1985, a seemingly quintessential Southern California teen's identity unravels as he's forced to choose one of his 3 fathers' last names before he comes of age.

Based in New York City, “Life After” is about Nisha, a single mother and Indian immigrant living in Queens. After her only child, Zara, passes away unexpectedly, Nisha decides to learn about her daughter’s life in Manhattan. Out of her element, Nisha is forced to examine parts of who her daughter was that she had tried to ignore. Most significantly, Zara’s sexual orientation. Only through meeting her daughter’s partner, does Nisha finally begin to grieve the loss of her child.