Adriana Randall

When a group of elite online gamers each receive a mysterious invitation to trial a state-of-the-art virtual reality video game, it’s a dream come true and impossible to resist. Arriving at the test site, the group step into hi-tech gear and prepare for a revolutionary, next-level gaming experience that brings modern warfare to life with frightening realism. At first it’s a unique and exhilarating experience. But what starts out like a dream encounter with cutting edge technology quickly takes a turn for the sinister. Once the group are attacked by enemy combatants, they soon realize this is no game after all. Make a mistake here and you pay with your life. Now these masters of the shoot ‘em up will have to fight for survival within a game gone bad, but this time it’s for real.

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No End was inspired by a poem I wrote over the course of six months. During this process, abstract images surfaced, subsided, and settled: eventually forming the foundation of a film. The result is a lyrical journey that explores the intersection of interconnectivity and the lived experience. The film includes an original soundtrack by Graham Stewart of Viosac.

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Yale University, 1961. Stanley Milgram designs a psychology experiment that still resonates to this day, in which people think they’re delivering painful electric shocks to an affable stranger strapped into a chair in another room. Despite his pleads for mercy, the majority of subjects don’t stop the experiment, administering what they think is a near-fatal electric shock, simply because they’ve been told to do so. With Nazi Adolf Eichmann’s trial airing in living rooms across America, Milgram strikes a nerve in popular culture and the scientific community with his exploration into people’s tendency to comply with authority. Celebrated in some circles, he is also accused of being a deceptive, manipulative monster, but his wife Sasha stands by him through it all.

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Irish architect and furniture designer Eileen Gray (1878–1976) was a leading light in the modern design movement. This graceful portrayal of her later life and work in France focuses on the triangle of tension between Gray, her lover Badovici and Le Corbusier.

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Newly arrived to a remote desert town, Catherine and Matthew are tormented by a suspicion when their two teenage children mysteriously vanish.

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