By Ben Greenman
from forthcoming collection, as yet untitled
The first short film is a typical example of this earlier state of Esme Rankin, in which she moved forward through time conventionally, each moment succeeded by the next. It might be included in this new collection to demonstrate by force of contrast the shift she has made into a more idiosyncratic and even insurrectionary approach toward sequence, one that preserves junctures but disrupts their manner of succession, sometimes jumbling them, sometimes reversing them. Where once she progressed from morning to afternoon, and then again from afternoon to night, she now more often begins in night and passes through afternoon before arriving at morning. Her day is still rendered as an accumulation of points along an arrow, but the arrow has been spun and spun again. What she sacrifices as a participant in common experience she gains as a source of awe. At the same time, she has extended the gamut of her formerly rather restricted wardrobe, adding brighter colors and more daring styles.
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