Gregory Nachmanovitch


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The Captive (2022), single channel video and sound,  runtime 10:50


When the cinematic trope of the car with the “rear projected” road is employed, but the primary subjects, the people inside the car, are removed, what is the viewer left with? What kind of assumptions will the viewer make when there are no drivers and no passengers, no conversation, and no exposition?

More often than not, rear-projected car scenes in classic cinema depict a conversation between a man and a woman. These simple, expository scenes can be the stage for complex power dynamics.






installation photos by Matt Barnes: