The screen flashes in a bright white light to reveal a lush green garden in bloom. The camera moves forward along a cobblestone path towards a light-colored stone sundial.
At the sundial base are multiple flower pots with blue flowers. The camera continues to approach the sundial and pans over top of it.
The camera turns to the left and a white logo appears on screen with the words “The Lost Garden”. The logo grows closer to the screen until it disappears. The lush garden is shown once again this time moving closer to a small pond in the foreground.
The picture fades to black.
The Gardener is seen laying across a wooden bench in a vast green garden. She appears in white overalls and tan boots. She jolts awake. It’s unclear if she fell, or was asleep. The Gardener looks around, confused. She stands up and begins walking along a cobblestone path in the garden, wanders a bit taking it all in.
We see three figures always behind the Gardener, getting closer and closer each time, finally the Gardener turns and sees them. They are like the Cheshire Cat, neither good nor bad, just entirely unhelpful and vaguely otherworldly. She approaches them and begins speaking. The Three Fates each dressed differently look at her intensity. The First Fate in a black mesh shirt with blue scarf, the Second Fate in a pink tulle bodice with pink scarf, The Third Fate a velvet black top with green scarf.
The Fates turn to each other around sundial and clasp hands and catch each other’s glances. The wind begins to blow around them heightening in intensity, like a magic spell has been cast. They release hands and turn back to the gardener.
The First Fate takes the Gardener by the hand and leads her down a tree covered path in the garden. They stop, the image dissolves through tree leaves, and a puddle of water emerges.
Lindsey Matheis appears on screen in muted purple color tones. They begin to move rhythmically to the sounds. Their hair is pulled back away from their face, heavy dark makeup encircles their eyes as well as dark colored lipstick around their mouth. They appear tense, and open their mouth screaming silently while looking upward.
They place their hands over their mouth.
The scene jumps, revealing a bright white light. Lindsay is revealed in profile, eyes closed and facing the right side of the screen. They have no makeup on and are wearing a thin strapped sleeveless shirt. They begin to dance rhythmically to the sounds.
The image flickers to the darkened room with purple color tones. Lindsay with the dark makeup in profile facing left.
The image flickers between both sets. Each dancer moving along to the sounds emotive of the light and dark colors surrounding them. The dancer in the darkened room moving with more tightness and angular progression. The dancer in the light moving more softly and fluidly.
Rain begins to fall from the sky in both sets - first in drips then in a cascading shower.
The rain then begins to get softer, eventually disappearing. The person in the darkened room disappears and only the dancer in the brightened room remains. Moving in tune with the sounds and caressing their body with tenderness.
Water is seen crashing against a stone break wall.
ID: Akania is a non-binary, Indian theater artist with an olive complexion. They have short dark neck length hair, are wearing a dark teal sleeveless top, and have two cartilage studs in their ear. Akania is in a room with sea green colored walls, in front of two white corner windows. Akania is seated in profile at an electric keyboard, with a black studio microphone in view. They begin playing the keyboard. Akania alternatives looking down at the keys, looking forward and also looking directly into the camera throughout the performance.
During the last fifteen seconds of the performance ocean waves are seen crashing over a rocky beach of dark crown stone. The camera pans out further into the sea revealing just the ocean itself. Then a small mound of stone appears in the distance of the ocean.
Water flows over rocks, and down a stream surrounded by forest.
On a black background “Born Again: An epilogue to Ralph Waldo Emerson’s 8-part essay, Nature. Narrated by Phoenix Washington.”
Amadi Baye Washington, is seen lying naked in a curled position, on the ground from an aerial view. The camera jumps and shakes as we find Alba covered in leaves in a ditch. The camera returns to Amadi, his bare back shown, his face down into the ground. Sam Asa Pratt is seen wearing a long jacket and blank pants. Sam is standing in a lake surrounded by leafless trees. Sam is flailing around and splashing the water upwards. Sam stops breathing heavily and wipes his face. Sam looks around out at the lifeless forest.
Amadi is seen in long view getting up from the ground. He has dark colored pants on. As he stands straight up his gaze is into the camera. The image jumps, feet are seen walking in mud with legs wrapped by a multicolored cloth. Sam walks out of the water and stands among the trees. Sam’s facial expression shows awe and wonder. It is partially illuminated by sunlight.
Amadi is seen fully dressed now wearing a neutral-colored shirt. And falls to the ground on his back. Sam is seen in Longview walking on a corn-colored ground among tall pine trees. Alba, her face is obstructed by the brown hair over her face, crawls on her hands and knees in the mud she reaches out and takes hold of a fallen tree trunk.
Amadi dances in a circular pattern around a grouping of bare trees. He alternates rising and falling from the ground. Sam is seen in close of view. Sam removes his soaked black button-down shirt making unsure steps as the camera moves closer to Sam’s face. Amadi spins, and places his hands on the ground while lifting his legs in the air. He falls and pulls his legs in close to his body, then kicks them out spinning along the ground. Alba lifts herself off the ground using the falling tree as a support.
Sam is seen from behind heading towards a group of barren trees. Sam takes off a black tee shirt revealing a bare back. Sam’s steps are unsteady and Sam’s body sways from left to right. Amadi spins along the ground using his head and arms. He alternates rising and falling among the dead leaves on the ground. Alba uses a tree to bring herself fully erect from the ground. She uses its base as a support then turns, only one hand remains on the tree.
Sam is seen stumbling along the field. Amadi is shown standing and spins in martial art type movement before falling back to the ground. Alba is shown in a long view running away from the camera towards a blue sky. Alba disappears and Francesca Harper appears. Francesca begins running towards the camera with outstretched hands. She stops and begins moving her arms rhythmically with the music. She stops and is seen from behind in front of a group of tall pine trees. She lifts her hands and walks towards the trees.
A darkened sky appears around the lake where Sam was previously. Francesca walks along the edge and slowly enters the water. The camera pans to the left along the horizon, as Francesca disappears from view.
Camera pans down from the sky onto a Grotto, then down into a pool of water. The Grotto reflects in the water.
The Dragon Sisters appear on stage spotlighted in a club. “The Dragon Sisters” appear on screen in white font then quickly fades.
The Dragon Sisters appear in a darkened space with soft blue lighting. Their chests and faces are on the floor bare chested. Their makeup has been removed, the tone is serious and elicits venerability. Their arms stretched towards each other and rested on each other’s back. They are shown standing and embracing. While one member of The Dragon Sisters looks into the camera.
They are shown back on stage in the club walking to the front in synoicous movement.
They dance in sensuous rhythmic movements, swaying their arms and hips along with the beat of the music.
The image flickers to The Dragon Sisters back in the darkened room. They are standing one in front of the other. They embrace and place their hands within each other. Their movements become more precise, angular as they grab each other’s arms. The tone becomes tense, agitated, then shifts back to comfort and soft embrace. The two have their chests on the floor, heads up gazing at each other with their hands entwined.
The screen returns to the club and the camera pans across a crowd who appear with smiles and excitement. The Dragon Sisters are dressed in shiny clothing with heels and move around the stage, raising and lowering microphones to their mouths.
The image flickers through a montage alternating between locations. They appear in a brightened warehouse and sit next to each other on the ground in comfort and relaxation. Next returning to the darkened room, where both are lying flat on the ground reaching for each other. Then returning to the club where they portray confidence, power and fierceness.
Waves crash into the ocean along high grey rock walls.
Two different people appear on screen in four individual video boxes, visible from their chests and above. They begin singing acapella. The person in the box on the upper left has dark hair pulled back away from their face with dark facial hair across their jaw and upper lip. They are wearing dark sunglasses and a pink button up shirt. The background is light pink with a scattering of darker pink flowers.
The person in the upper right box has short cropped dark blonde hair with light facial hair across their jaw and upper lip. They are wearing a dark navy-blue tank top and sunglasses. The background is a dark blue and has various types of white hand drawn flowers spread out across it.
The person in the lower left corner has short cropped dark blonde hair with light facial hair across their jaw and upper lip. They are wearing a dark grey t-shirt. The background is a light grey with various types of hand drawn flowers.
In the lower right corner video box is a person with loose shoulder length dark hair tucked behind their ears and dark facial hair across their upper lip and jaw. They are wearing a dark grey tank top. The background is light grey with various types of leaves in white.
At various points in the video, the person in the upper right box takes off their sunglasses and looks down at the person in the lower left box
A sunken pool garden is shown among hedges and a stone building.
Three identical vertical boxes appear. Within each vertical box, a pair of legs and feet are seen in a bathtub. Water flows out of the faucet down on to the feet creating a ripple pattern at the drain.
Melissa Durante appears and stands on the ledge of the bathtub. She is wearing black bodysuit with sheer sleeves. She begins to ballet dance and grasps on to the shower rod above her head. Her legs and arms twirl around her body as they bend and balance on the ledge. Her moves are soft, fluid and delicate as dances along with the instrumental music. She stands inside the bathtub moving in continuous fluidity with the music. Arching her back and spinning encompassing the length of the bathtub.
The screens change as Melissa enters from the left side of the screen into the bathtub. She sits down and slowly applies a dark color lipstick, her gaze into the camera. She places her hands on either side of the tub and slowly lowers herself into the water. The screen fades to black.
A small sunken concrete fountain in the middle of grass
Sherry Mandujano is wearing a hooded sweatshirt and is seen looking out a screened door out onto a street. Cars pass along as the person begins to sing.
The scene jumps to Sherry sitting in a darkened room and looking down at a mobile phone.
Sherry repeats the phrase “no more new episodes” becoming more and more visibly upset each time the phrase is said. The camera pans into the phone screen and a finger is seen scrolling through a media library. Sherry begins to cry. They are then seen rocking back and forth while repeating “no more new episodes” before they collapse backward into the sofa they are sitting on.
The scene jumps back to Sherry singing by the screened door. Then they are shown standing in front of a darkened space with two window-like panels and water coming down the side of their face. Before jumping to a scene of Sherry with their arms spread to their sides over a hill top view of a metropolitan city. We return to Sherry standing in front of the panels, the light becomes brighter. They are shown fully clothed standing in a shower with water trickling down their head and shoulders. Makeup from their eyes is smeared down their face. Their mood elevates and they smile.
They are shown sitting on a couch in front of a television screen a blue light emanates from it and is shown on their face. Their full attention is focused on the screen, their eyes flicker back and forth, following the movement on the screen.
A towel is thrown towards them, and they begin wiping their body. Never removing their eyes from the TV screen.
The camera spins around an elaborately decorated blue and green tiled fountain. A statue stands on top with arms outstretched.
Omagbemi is wearing a white long sleeve shirt and dark pants and appears on a stark white screen. They are seated further away in the video frame with their right leg stretched to the side and their left bent, left raised towards their chest. The video flickers with lines and other screen effects seen in early movies from the 20th century, these effects remain throughout the entire performance.
Omagbemi shifts, lowering their left leg to the ground while raising their head. Then brings their leg back to their chest. They slowly rise from the ground using only their knees for support while weaving their upper body from side to side, then finally resting all their weight on their left foot.
Omagbemi shifts their upper body into a horizontal position. With hands reach towards the ground – their right leg in the air bent at the knee and extending outward behind them. Their upper body then rolls back forward to an upright position with both feet on the ground.
They turn to the right while raising their hands, bending at the knees and lowering themselves to the ground, quickly returning to a standing position.
They place their left arm behind their back while swinging the right in front of their body.
Omagbemi stops and looks to be sitting on an invisible chair before bending their body backward raising their head and right leg behind them then slowly shifting back into a standing position with their arms spread out to their sides. They continue slow movements along their body, raising their legs and arms to the beat of the music.
They begin to lean their upper body to their left, their head horizontal to the screen. The image then duplicates showing the dancer in a reverse mirrored effect.
Now the two dancers reach their arms out to the side. Appearing to touch one another.
They both shift their bodies in opposite directions, reaching their arms above their heads, and each bending their legs at the knee while lifting them behind. Quickly each return to a seated like position in the air reverse mirroring one another’s position then rising to stand. They reach out their hands – attempting to meet in the middle of the screen. But they are unable to do so.
The reverse mirrored dancers then bend at the knees and quickly rise once more. Turning to look upon each other while leaning toward the center of the screen. Their hands and arms bend together then reappear on their individual sides. They bow towards one another, while lifting one leg behind them. Then quickly turn their bodies away – and return to the original seated position at the beginning of the performance.
A series of small waterfalls flowing down a lush green hillside.
A single platform oxford style show is seen lying on a milk-soaked floor. The music begins and various colors slowly flash across the screen. The camera pans backwards revealing empty milk cartons scattered across the floor. The camera pans up and a quick glimpse of an arm is seen hanging over a white bathtub.
Jump cut to a woman in black high heels in a long light-colored fur style coat walking down a sidewalk towards the camera. She is wearing a white facemask, dark sunglasses; and her head is covered by a cloth scarf tied around her neck. A small path of dyed pink hair is visible above her eyes.
The scene jumps to this woman in a grocery store and putting jugs of milk into her shopping basket. She then places these jugs and ice cream on a counter to purchase them from the cashier. She is one again on the sidewalk and is grasping her plastic shopping bag close to her chest.
The woman is now in a kitchen. She is wearing a white nightgown and a robe with large white feathers down the arms. She is placing the ice cream and milk into a blender on the kitchen counter and begins to mix them. The woman begins to caress the blender with her hands and leaning her head on the top.
A milkshake within a clear glass appears in her hand. She begins to lick the top of the drink with her tongue before beginning dance movements with her hands. She begins to lick a silver spoon in a seductive manner while closing her eyes.
A shot glass is seen on a table. A hand holding a jug of milk begins to pour and overflows the shot glass. The woman now appears in a black blouse with a choker style necklace being to drink the milk from the shot glass. She is seen dancing in a club type setting while various colored lights flash on screen. She begins to drink milk out of a champagne glass while laughing and smiling.
In the next scene the woman is seen using an oxford style platform shoe to crush white pills on a table. Packages around the pills say “lactaid”. The woman then implies that she snorts the crushed pills up her nose. She falls to the ground and crushes more of these pills. Then falls to the ground and pulls herself across the floor with her legs dragging behind her.
The woman is now sitting on a chair in a bedroom. She is wearing black lingerie that exposes her midriff, with thigh high tights and a garter belt. Her arms and legs gyrate across the chair. The woman is seen through a reflection in a mirror drinking more milk through a champagne glass.
She falls to the ground in a darkened bathroom. The slights begin to flash slowly with various colors.
The woman begins to remove her blouse revealing only undergarments. She enters a bathtub. A broken champagne glass is shown on the wooden floor in the bedroom.
The woman is now shown back in the bathroom pouring milk over her exposed breasts. The milk travels down her body over her thong style underwear and light-colored fishnet stockings. She is then shown pouring more milk over her head.
She is now sitting in the bathtub which has been filled with milk. The woman begins splashing her arms into the milk joyfully. The camera begins to pan up the woman’s fishnet stocking covered legs to her knees, waist, exposed breasts and finally resting on her face. The screen goes black.
A collection of succulent plants partially submerged in a concrete fountain
Evan Fisk is standing on green grass, with green leafy tree branches above his head, in a park. There is a walkway in the background that is surrounded by metal and wood benches. People casually sit down on the benches and walk along the pathway behind him.
Evan Fisk is wearing a grey long sleeve button down shirt with the sleeves rolled up, black knee length shorts, red socks and yellow ankle height lace up sneakers.
He dances along with the music in rhythmic circular modern dance movements utilizing his entire body.
Three white columns surround a pool with a sprinkler.
A three-column brick structure is seen, with a back base below supporting them. A white bowl with water, with three ice cubes surrounding it, is shown between the first and second columns. An accordion is heard off screen as one of the ice cubes melts.
First Fate, a black man with a shaved head, appears on screen. He is seen from his nose to his hairline. His eyes are closed. His two eyebrows are painted with a silver shimmer glitter. His eyes then open. His eyes appear sad, tear-filled. A single tear falls from his right eye.
The camera begins to slowly pan out revealing a white wall with large brick like stones and an ornamental spirograph design circular light of brown, green blue. The light appears as a halo surrounding the top part of First Fate head. His mood is morose. He closes his eyes letting more tears stream down his face. He opens his eyes, continuing to emote sadness.
The camera continues to pan out further revealing slightly more of First Fate’s face.
He disappears from the screen. Then reappears revealing his full face and neck. His eyes are closed and then reopen.
The image jumps and reveals First Fate under a slatted wooden arbor with plant roots growing around the top. His body is visible from above his knees. He is wearing black pants, a black mesh shirt, and a black overcoat. His head is raised as he looks upward to the night sky. He is seen on a building roof top surrounded by tall urban buildings. He then moves his gaze back to the camera.
Behind him another person is revealed as First Fate walks out of frame. They are dressed in all black holding an accordion.
First Fate appears one last time on screen, reminiscent of his first appearance on screen. He closes his eyes and the screen fades to black.
The First Fate stands in the garden, the Gardener walks to him. The First Fate places a small seed into the Gardener’s hand. She turns and walks down a path.
The Second Fate takes the Gardener by the hand and leads her down a tree covered path in the garden. They stop and both look up into the trees.
Kayla Farrish, a black woman, is seen in a dance studio with red brick walls and a wooden balance beam running along the wall behind her. She is wearing a brown button up dress with a small white design print running along it. She begins to sway her body along with the music. She sits on a wooden bench and begins dancing rhythmically along with the music. Moving from one side of the bench to the other.
She begins laughing while looking towards the left of the screen, then quickly appears to be pulled from the bench to a standing position, then back down to being seated on the bench. Her mood is serious and tense. She continues to dance emotively and with passion as she moves with the music in sharp, precise movements. She raises and lowers herself on to the bench.
Kayla begins to move further and further away from the bench. Taking up more space within the room. Her movements become more fluid as she gesticulates. She spins lifting her arms and legs above her head and balancing on one leg.
As the music ends Kayla looks directly into the camera while clutching her chest. Her movements become more angular, precise and calculated. She breathes heavily as she creates rhythmic sounds on the floor with her feet, while her arms raise and lower beside her. Spins around the room while raising and lowering herself from the ground. She stops, turns and looks directly into the camera
Kayla slowly walks backwards towards the wooden bench. Never taking her eyes off of the camera. She sits down on the bench taking deep breaths as her chest rises and falls. The screen fades to black.
The camera follows down a glass lined path in the garden. A stone fountain is seen in the distance.
A black and white video begins. Onalea is seen sitting in an oversized chair surrounded by stacked suitcases and clothing hung on hangers in a closet. She is holding an early styled microphone between her hands. She is dressed in a top hat, black tuxedo jacket, gloves and fishnet stockings. She crosses her legs and lifts the microphone to her mouth as she begins singing. Her gaze alternates between the camera and various areas of the room. As she sings, she rests her left hand on her legs and then on her chest.
Close up view of roses on a bush. The camera turns down a pathway with tree branches overhanging.
Cenny Ray, a black man, is seen grooving to his music all around Central Park surrounded by strangers and colorful leaves on a bright sunny day. He is wearing yellow overalls, a matching yellow overcoat, yellow headband, and a black facemask with the words “Black Is King” written across it. The image flickers, he is seen standing in front of a building, some of the windows have been filled with white letters stating “Say Their Names” and then spelling out “BLACK LIVES MATTER” around the letters are the names of ten black people who have been killed by police.
The camera pans to Cenny Ray standing in a montage of various areas of the park. He is seen standing still then moving rhythmically along with the music. Some of the images have sped up his movements while others are at regular speed.
Cenny is seen sitting on a large boulder as he looks and sings to the camera. The images alternate between him sitting on the boulder and dancing in various areas of Central Park. His arms swing back and forth across his body as he moves.
The image cuts to Cenny standing on a flight of outdoor stairs. The screen flashes between him standing at different locations throughout the staircase.
Next, he is seen dancing in front of a large pond with a concrete path surrounding it. Then he is in a cave within the same park. He is dancing with a large smile on his face. The screen continues to flash between the various dance locations in the park. His mood is joyus.
The screen returns to Cenny standing in front of the “BLACK LIVES MATTER” sign. His mood is serious and stoic. We then return to the pond where Cenny is dancing in a sped-up movement moving along the concrete path.
Camera moves down a grass pathway, with rose bushes on either side.
In white font on a black background is written “After one year of a global pandemic, one masked, lonely, girl scours NYC, pining for safe human contact with her lover.”
A black and white video begins. A wall is shown with a “closed” sign draped across it. Various signs encouraging safe distances are flashed on sidewalks. A framed photo booth styled photo of two people is shown. Mikayla Petrilla is seen lying in a bed wearing sunglasses and hugging the framed photos.
She kisses and hugs the frame repeatedly.
A sign of two figures with the words “Stay 6 Feet Apart” written on it is shown. The woman is revealed to be behind the sign as she stands up. A NYC subway car door is shown with the words “no exit” and “please keep a safe social distance” written on the signs.
Mikayla Petrilla is seen holding a tape measure against a magenta-colored background. She is singing directly to the camera. The image flickers back to the subway in black and white. The woman then stands next to the sign with “keep to the right” written on it. Another sign appears on a metal gate “Keep 6 feet apart”.
Mikayla Petrilla is seen holding a tape measure that has been draped across her face. More images of 6 feet distance signs are shown in black in white. Mikayla Petrilla is seen from above her neck looking around in a room with multicolored flashing lights. More black and white images appear of the woman walking around an empty church.
Mikayla Petrilla is back in her bed using a laptop. The words “Vaccine Appointments Available” scroll repeatedly along the bottom of the screen. She reappears in front of the magenta background, this time holding yellow and white flowers towards the camera. She then drapes the tape measurer along different areas of her body. The images flashes back to the flowers as the woman begins plucking the petals from them. A covid vaccine immunization record is pulled from the center of the bouquet. Mikayla Petrilla examines it, then begins to kiss the piece of paper.
A hand is seen reaching out to the other end of the screen. Home video appears of the other person from the phone booth photo walking along a pier. The two are then seen lying next to each other on a bed, smiling.
Mikayla Petrilla is shown back in front of the magenta background with the tape measure in her mouth. She attempts to roll the measuring tape back into the holder, but fails. Then the tape quickly rolls, taking her by surprise.
A statue of the Goddess Diana is seen through branches.
Inyang Bassey is seen standing on the sidewalk of a car and house -lined city street. They are wearing large gold crescent moon and star earrings, a long gold chain, a striped black and maroon scarf draped around their neck and a red blouse. Their hands are clasped together as they look up towards something above the camera. Inyang opens and closes their eyes, swaying side to side, as they sing acapella.
The camera begins to pan around Inyang in a circular motion. As the camera pans around Inyang’s back, the comedian drag entertainer Murray Hill is revealed to be standing on the house steps and looking fondly at Inyang.
The camera pans back to Inyang and the perspective is from someone standing on the steps.
Inyang continues to sing joyously and with passion for the remainder of the performance. Once again clasping their hands together and smiling as the video fades to black.
Multicolored flowers are seen along a cement garden wall
Lisa of Midtown Taxi is seen leaning out of the car window as it drives down a tree lined road. She has shoulder length brown hair and is wearing dark sunglasses. Her arm swaying up and down, the wind blowing in her hair. A montage of different locations alternate on screen.
Lisa is seen standing at a microphone in a recording studio wearing a white t-shirt with red wring and jeans. A music stand is to her right and the wall is covered with a cheetah print fabric. She is singing along with the music and gesturing her hands in a joyful way. The scene cuts to reveal Lisa and Matt of Midtown Staxx standing in a garden. Matt has short cropped dark hair stubble facial hair. He is wearing sunglasses and a black leather like jacket. They look into each other’ eyes as if they are falling in love surrounded by flowers and sunshine. The mood is happy and feeling carefree.
The two walk through a park with concrete pathways, the video showcases clips of home-movie style moments of Matt and Lisa enjoying each other’s company. Lisa is seen back in the recording studio, making notes on a piece of paper located on the music stand. Matt joins her at the microphone then leaves the screen.
Lisa walks up concrete stairs in the park. The image flickers back to the recording studio where Matt is singing into the microphone with Lisa. The two playfully push each other out of the way of the microphone before Lisa puts her arm around Matt’s shoulder. The song ends as they lip sync into the microphone but to each other’s vocal parts.
A closeup view of a pink rose.
A bedroom is seen in black in white. A shelf holding a keyboard and a small wooden desk are seen in the foreground. A black man is seen lying down in bed reflected through a mirror on the wall.
A shadowy astral projection version of himself emerges from his body and sits on the bed. This projection looks at itself through the mirror. His body tense and solemn with heavy shoulders.
A second projection of the man emerges and walks towards the desk. Its arms push on the chair and we see the shoulder blades flex and tense. The projection turns and begins looking into the mirror in deep sad contemplation while running its hands across its head. Then turning around and leaning back against the desk.
A third body projection rises from the bed and sits at the desk. It quickly rises and walks off screen.
Then returning back on screen to occupy the same space as the second projection.
The second and third projection move out of sync with each other, and blur. The man rises from the bed and begins to look at himself through the mirror.
The First projection rises from the bed and stands next to the man. The first projection appears to be looking at The Second and Third projections who are now sitting on the desk.
The man looks directly into the camera through the mirror reflection and begins singing. The projections begin laughing, their moods become less tense and they smile as they accept self-love and joy as each disappears off screen.
Pink flowers with gentle rain falling on its leaves.
Kyra is sitting in front of a tall black bookcase. She has long dark hair that flows down past her chest. She sits silently staring into the camera. She blinks occasionally. She turns her head to the left side of the screen while smiling. Her gaze returns back to the camera. Her eyes close.
Kyra’s hand reaches into her mouth and pulls out a heart shaped chocolate which she shows to the camera. A red foil wrapper appears from off screen and is placed over the chocolate. Kyra pulls the wrapped chocolate away from the camera and back towards her body. The screen goes black.
Close up view of two pink and white roses.
Fade from black to reveal a red curtain backdrop and Ava, a devastatingly beautiful drag queen. Ava is wearing a crown of red roses, a platinum blonde wig, highly detailed red, white and black eye makeup, wrapped in green leaves and two large red roses across the chest. Ava begins to lip-sync to the musical track while raising a glass of champagne.
The video quickly fades to black and then reveals Hans on screen, another devastatingly beautiful drag queen. Hans is dressed identical to Ava with the exception of a long green mustache made of leaves and prominent green straps across their chest, revealing cleavage. Hans raises a bottle with amber colored liquid inside and shakes it.
The screen fades and reveals the pair standing with their backs to each other. A montage appears in black in white. Ava is in a kitchen holding a glass and a bottle of champagne. Hans is seen walking in through a door smiling. The mood is joyous, and the two are happy to see each other. Ava pours the champagne into the glass and gives it to Hans. The two then touch their tongues together. The video then goes back to Hans & Ava back-to-back in front of the red curtain. Then to Ava alone.
The image fades back into a black and white montage revealing Hans and Ava sitting on a sofa with their arms around each other. Hans’ legs are draped over Ava’s lap.
The picture flickers and Ava is now in full color - back in front of the curtain, alone. Followed by another flicker showing Hans back on the screen back-to-back with Ava. Both staring off in the distance.
The image fades back into a black and white montage revealing Hans and Ava facing each other while sitting on the roof of a building. The surrounding area is sparse. Hans is holding a bottle of champagne as the two go in for what appears to be a kiss. They touch tongues ferociously.
The video then goes back to Hans in front of the red curtain. Hans is alone and singing with deep passion. Ava appears quickly overlapping Hans then disappears.
The black and montage reveals a light-colored sheet moving up and down on a bed. Ava comes through the door looking horrified. Hans is revealed in bed embracing a tree, and inaudible yelling. Ava’s make up is running down from their eyes – Ava is visibly upset and crying. Ave goes out the door pulling it shut behind themselves.
Hans appears on screen in front of that same red curtain. Then Ava.
The black and white montage appears, showing Ava in active labor – with Hans as a birthing coach. Hans reaches between Ava’s legs and pulls out a small plant. Hans gives the plant to Ava, then Ava embraces it as a child. The two go in for what appears to be a kiss but are interrupted as Hans pulls another plant from between Ava’s legs. Hans then cradles the new plant in their arms.
Ava is revealed Infront of the red curtain, passionately singing while raising a champagne glass in the air. The two are then back-to-back in front of the curtain. Singing passionately about each other, but never making eye contact. Ava turns to look at Hans. Hans shakes their head and lowers it towards the ground. Defeated.
Hans is shown stumbling back through the door in black and white while carrying a bottle of champagne. Hans appears to be drunk. Ava is shown cooking at the stove in the kitchen while cradling the two plants that they gave birth to. Ava sees Hans and is enraged. Ava is shown screaming while Hans continues to drink from the bottle of champagne. Hans raises their middle finger to Ava. Ava is not pleased. Hans mouths the words “Fuck You”.
The two appear back in front of the red curtain. This time, looking over each of their shoulders directly at each other. The screen flickers, showing each alone in front of the curtain. And finally, revealing both Hans and Ava Infront of the red curtain. Trying not to make eye contact, and attempting to hide the pain of the loss of their love.
Close up view of multicolored flowers.
Palm trees are shown in a bright blue sky. Nick Atkinson appears at a distance in a baby blue colored suit with a white shirt and gold rimmed aviator glasses. He is standing in front of a brightly colored painted mural on the side of a building. He lifts the glasses from his face looking over the top of them.
The words “Sunday Mondays” appear in white font overlayed on the screen. The camera pans in closer to Nick in front of the mural. He has a peace sign button under his jacket and a bubble gun that he brings in close to his face to blow bubbles from. He slowly descends the stairs in front of the building using the bubble gun to blow bubbles as he goes. A tambourine appears in Nick’s hand. He uses his other hand and hip to hit it in beat with the music. He begins jumping rope once at the bottom of the stairs and continues down a paved sidewalk. He throws the jump rope to a differently dressed version of himself.
Nick is now dressed in a star print shirt, multi colored neckerchief, and blue fedora style hat. Nick throws away the jump-rope and begins bouncing a big blue rubber ball off of his head. He catches the ball and bounces it off a nearby tree. Nick takes off the neckerchief and holds it in the streaming sunlight through the trees. A blue tablet appears on Nick’s tongue and he swallows it before laying down on the grass below him. He puts on dark colored sunglasses and multi colored flowers encircle his head. He takes one of the flowers and brings it to his nose. Nick takes a peach-colored rubber ball and throws it to another differently dressed version of himself.
This version is dressed in light-colored sunglasses, a blue polo shirt, a purple flower ley, high cut pink shorts, black and yellow striped knee-high socks and roller skates. He throws the ball away.
And is seen skating down the street with a bouquet of flowers in his hand. He says hello and throws the flowers at people off screen. A person with long dark hair approaches Nick on the sidewalk. He hands them the remaining flowers. The person smiles. They wave and continue in different directions on the sidewalk.
The feet of each of Nick’s differently dressed versions appear on screen and tap along with the music. And intermixed scenes of each version moving along the street play after each other.
The three are shown on screen standing next to each other from the knees down. Then the three are placed in full body view together in front of the muraled building. They dance along with the music as the non-roller skate wearing versions jump into the air as the image fades to black.
The camera circles a stone statue.
A flower warehouse is shown. The Camera descends down a long row within the warehouse. Diverse types of flowers surround them on either side. Video clips from the following are shown in between live scenes in the flower warehouse –
The Great Gatsby (2013), Something, The Hours. “Oh, Flowers'' appears over the image written in white font. Video clips from Bambi, A Little Princess, Avatar appear and simulate the movements and emotions the viewer experiences in the Flower Warehouse.
The mood is excitement and joy at being surrounded by the flowers. Video clips from SpongeBob, A Little Princess and Atonement are shown.
A person is seen from the neck down, they are carrying a bouquet of flowers out of the warehouse, out on a city street and to a table. At the table the person trims the flower stems and wraps them in paper. Video clips from the Adams Family, Alice In Wonderland are shown. The mood is that of exuberance and control.
Flowers are shown in vases around an apartment. All in various states of decay. Video clips from Beauty and the Beast, The Walking Dead.
Evelyn Chen is shown reading on an outdoor couch. Evelyn looks up and begins to remove the dead flowers, placing them all on a tray. Video clips from The Wire, Atonement, Melancholia, Clueless are shown and emulate the emotions of loss and death as they flowers are placed thrown into a garbage can.
Video clips from Crazy Rich Asians, Sex and the City, True Lies, Rupaul’s Drag Race, American Beauty are shown on screen. They emote a feeling of anger, sadness and eventual overall numbness of emotion.
A doorbell rings as Evelyn walks towards a front door. As the door opens a person in a brown UPS uniform is standing there with a bouquet of fresh flowers. Video Clips from Valentine’s Day, Game of Thrones, Ladies of the Chorus are sound. The music is tense as a close up of Evelyn’s mouth is shown as a smile appears. The image flickers between the delivery person holding fresh and dead flowers. A cycle of fresh life and decay death is seen. A video clip of Wizard of Oz is shown portraying a sense of blissful ignorance.
A collection of red rose bushes growing in the ground.
The Second Fate appears dressed in a white blouse with large black polka dots, and sheer polka dotted gloves. Her face is painted stark white clown makeup. She is in front of a black and white checkered background. She begins to sing and move her arms rhythmically, in sharp precise movements along with the music. Her mood is serious and reserved.
The images flash to show The Second Fate in a vertically striped red dress. She is now in a darkened room with a projected moving white and black swirl background behind her.
The image flashes and she is now standing in front of a bright white spotlight. Her gaze is straight forward. The camera view alternates between directly in front and another off on the side. The spiraled white and black projection returns behind her on the wall.
The image flashes between the clown in front of the checkered background, and the bright white spotlight. Her hands run down her face smearing the clown makeup. Both versions laugh and smile.
The image flashes to reveal the Second Fate in her Pink Tulle dress from earlier videos. She is in front of pink flower petals attached to the walls in a spotlight view. Her mood is joyous, she dances playfully along with the music and sings passionately. Rose petals stream upwards from off screen surrounding her. The image slightly flickers as rose petals fly around the screen in slow motion. The Second Fate finishes the song and pauses with her hands upwards towards her face. The picture fades to black.
The Second Fate stands in the garden, the Gardener walks to her. The Second Fate places a small seed into the Gardener’s hand and points in the other direction. The Gardener turns and walks down the path.
The Gardener wakes up alone in a small white tent-like enclosure, looking confused. It is lit by two amber colored candles and a garland of fairy lights along the wall. There are flowers in vases and a guitar. The Gardener rises and finds a small yellow flower tucked into the waistline of their skirt, they remove it and smell the flower. She looks up and around the enclosure curiously.
The mood is that of confusion, sadness yet hopeful. The Gardener appears with a notebook and begins writing inside, the yellow flower tucked behind her ear. The mood lightens. She lays on her back spinning the flower above her face, The Gardener smiles as she writes in the notebook, plays the guitar, and smells more flowers.
The Gardener kneels with her hands open, palms to the sky and raised to her waist – with a pile of thistles across her lap. The image flickers as she holds a bouquet of purple thistles. She sings passionately. The mood is that of a release of powerful emotions with deep blue desaturated tones of color.
The Gardener wraps her arms around her body, her face changes, the mood becomes tense, serious, dark, uncertain. She lowers her head to the ground and lifts a wilted yellow flower into frame toward the camera. The image darkens almost devoid of color, as the Gardener’s gaze turns directly into the camera, expressionless. The image fades to black.
The camera moves slowly down a cement pathway with topiaries on either side. The Third Fate slowly begins to appear projected over the image, the projection becoming clearer and ominous. The Third Fate disappears and a narrow pathway surrounded by tall hedges appear. A small sign on the right has the words “maze” with an arrow on it.
Tony Bordonaro and Ingrid Kapteyn appear in an enclosed room with illustrated tree walls and a wooden floor. They chase each other around playfully with smiles on their faces. They embrace and kiss passionately. The room they are in is enclosed by a clear wall on one side. The audience are viewing them through an exhibited glass wall.
They begin synchronized choreographed movements in fluid contemporary dance evocating the emotion expressed in the music. Their faces were once joyous, now pained and serious. Their bodies draw in closer to each other - touching, then away from each other while moving with hesitation. There is passion, sensuality, love – but also distance and uncertainty in their movements. Their bodies synchronize while they gaze into each other’s eyes.
Ingrid rises from the floor and attempts to pull Tony up as well. Tony resists, pulling Ingrid back. Their bodies are more independent, moving off of each other but no longer in sync. Their bodies act as a support base to each other for dance movements. Ingrid returns to the floor and lays next to Tony. Ingrid rolls on the floor away from Tony’s outstretched hand.
They face each other at a distance – both hands outstretched towards the other, but not touching. Neither moving…
Ingrid rolls back towards Tony, grabbing Tony’s hand. Tony pulls Ingrid in close, their bodies touch. Tony embraces Ingrid from behind as both express comfort in each other’s arms.
The camera pans left to right and back again among the tall leaf hedges in the maze.
An oversaturated image of melting snow on the ground. Closeup view of rust along a metal handrail. A concrete stairwell, water dripping down its walls. The camera pans up to a leafless barren tree. The mood is desolate, isolated, fearful.
A white wooden fence, stained with mud along its bottom. Camera pans to potted plants in close up view. There is a frantic urgency in our narrator’s voice.
Black soil, dying and decaying leaves are shown along it. Chicken wire surrounding leafless plant branches. Scattered leaves along the upper layer of a pond, algae covered cement stones are seen through the clear water. A sinister laugh is heard as the mood becomes more urgent, terror inducing, unsafe. Decaying leaves are shown in closeup among tree trunks.
Water-soaked weeds grow through an over saturated amber colored wooden floor. Muddied lines appear across the floor. The image fades to black.
The camera follows down the path of hedges in the maze. Then comes to the end, which has been blocked by a tree.
The text “FLASH WARNING: the following is found footage, you may experience dizziness, paranoia and a general feeling of unease” flashing in white, red, blue on a black background. A chandelier spins in a slacked wooden gazebo. He lights flash, a metal faucet drips clear liquid on a sugar cube over a metal colander. A candle flickers in the foreground as a knife is shown lying on the silk covered table.
The montage of locations continues, Lexxe appears under the chandelier wearing a white feather boa. Hair, half blonde half dark, parted in the middle and slicked into a tight bun. Lexxe is holding a large glass of wine and moving around the slacked wooden gazebo. The mood is reserved, and introspective, dangerous as if keeping a secret.
A single arm is seen in a room with red tones. Pearls are lowered into a martini glass. The light flickers and the image becomes blurry as the camera zooms in on the pearls.
Lexxe takes a drink from the wine glass in the gazebo and gently leans against the wall suspiciously.
Two polaroid photos are shown with wine stains splattered across them. Lexxe takes a drink of wine and lets it fall out of her mouth down her face and boa. Close up of a knife blade in the red toned room, Lexxe’s reflection is seen in the blade. The camera pans across piles of jewelry, cigarettes, flowers and a martini glass. Lexxe walks along a tree lined patch of grass, with their gaze focused on the camera. An out of focus letter appears with the words “I did it, xoxo”
Lexxe moves freely along on the grass, the mood is intoxicating, devious and care free. The images flicker back to the out of focus letter, it has been signed with the word “Lexxe, sorry”. The image returns to the red toned room. Lexxe’s face is reflected in a small mirror next to a martini glass. Lexxe’s expression is serious and distant. The screen fades to black.
The camera continues down the hedge maze and goes under a fallen tree branch.
Buddy the Rat, A performer wearing a large friendly-looking rat mask, brown trousers, white tank top, perched on a piano bench in front of a piano. A neon sign above his head says Club Cumming. Buddy begins smelling the piano and places his hands on the keys. He startles himself and begins playing a tune on the piano.
His gaze alternates between the keys and the crowd. He pauses for applause from the crowd in the club, then quickly resumes playing. When finished playing he jumps up and down, emulating the physical behavior of a rat.
A Saytr statue is shown along the hedge maze path.
Two people with short blonde hair appear, both wearing light green button-down shirts. They are surrounded by a silver iridescent tin foil like border. They are easily excitable with a gentle and tender disposition. The tone is futuristic and yet reminiscent of a 1980’s infomercial. The camera zooms in and out, at various points with moments of over empathized 50% video speed.
One person holds a plant while the other places a finger, then two, into the soil. The second person begins unbuttoning their shirt and places the flower pot inside next to their chest – covering it.
Text appears in white font “@866PhilAndPhil”. Screen fades to black.
Camera moves along the hedge maze trail.
Von Smith appears on a black background. He is wearing a green tank top and has animated plant leaves coming out of the top of his head. His eyes are closed standing as if he is a sleeping flower. His green eyes open – gaze transfixed on the camera as he begins singing. The mood is playful, dramatic and sensual.
Camera follows along a broken and weed covered railroad track.
Two different black and white video boxes appear on screen . Each showing a wooded area.
The video boxes become vertical, Michael Bryan Wang in the top box, Joy-Marie Thompson in the bottom box. Both are shown in the same body position lying on the ground. Their arms outstretched over their head, chest to the ground with a knee at a ninety-degree angle. They both stir awake, rising their bodies up off the ground, moving in synchronous body motions.
The images flicker between black screens. They stumble in their steps. Close in view of their faces, the mood is tense, suspicious and worried. They look back into the woods behind them. They each begin running through the forest. Their breath hurried, fearful.
They stop and seek protection from the nature where they are. Michael behind a tree, Joy-Marie on the top of a pile of leaves. They begin running again, with no direction and seeking protection.
The images flashes revealing both opening their eyes with their heads on pillows - waking up from a nightmare. The screen flashes bright white.
A ram statue is shown.
In the style of a black and white film, Lily Ockwell lounges on a couch watching a laptop screen. Lily is in a bathrobe and drinks from a bottle of wine. Lily’s eyes close and begins crying into her hands. Distressed Lily thrashes around into the couch. Lily eats ice cream from a carton, then passes out on the floor.
A darkened moonlit sky is shown. Lily lights wrapped bundles of Palo Santo and Sage and smudges the air. Lily sits at a coffee table placing sage, crystals, and a stack of tarot cards down on it. Lily moves around frantically smudging the air. A cross layout of the tarot cards is shown on the table. Lily closes her eyes and enters a meditative position.
Lily enters a bathroom and turns on the facet. The image becomes colorized. Lily pours an orange oil into the bathtub in an over dramatic motion. Lily lights a candle and places it on the ledge of the bathtub. Lily shakes a bag of bath salts and pours it into the tub. Lily takes a small bit of the bath salt on her finger and snorts it.
Lily looks out the window to the street longingly. Lily looks back into the camera.
Lily sits on the ledge of the bathtub and places a pink shower cap on. Lily removes her bathrobe revealing a yellow two-piece bathing suit, then enters the tub. Lily looks at herself in a small handheld mirror, her mood is worried. Lily kisses a pink crystal and lights a bundle of sage. Lily dances rhythmically to the music, playfully blowing the bath bubbles from her hands.
Lily pours bath salts from a bag onto a mirror. The salt is cut into lines and Lily is shown snorting from the mirror and wiping her nose. Lily lowers herself into the tub submerging her head.
Lily raises back out of the water revealing a lizard like face. Lily looks in the mirror and shakes her head furiously.
Lily is seen, with the lizard-like face, in a blue raincoat dancing joyously in the street with an umbrella. Lily turns and begins to wave at the sidewalk. The camera turns to find Ginger Kearns looking nervous and unsure on the sidewalk. Ginger backs away and moves quickly out of frame.
Lily twirls an open umbrella around in a circular motion, and raises it above her head.
Lily moves with exuberance. The camera pinpoint focuses on Lily and then fades to black.
Camera moves along the hedge maze trail.
The words “Daniel Shevlin, EJ Garlands, Sparky Lingwater, No Body No Crime” appear in white font over the screen. A person is seated at a piano, another is playing a cello as a large humanoid puppet appears on a nightclub stage in front of a microphone.
A neon sign above the puppet says Club Cumming. The puppet has bright purple hair, purple eye makeup and a sparkly dress with small reflected mirrored squares. A person completely covered in black stands behind the puppet controlling their arms and body movements. The puppet sways their body along with music moving back and forth away from the microphone.
An aerial view of the hedge maze is shown.
A flickering candle is seen then blown out. “To Lillian” is written in white font along a black background. Francesca Harper is seen sitting in a darkened theater. She is holding a flickering candle in her hand. Her mood is serious, nostalgic with sadness in her eyes. The camera pans to a series of colored photos being projected on the wall.
Francesca appears in shadow against a light blue wall. Her body is drawn inward towards itself. The camera pans around in a circle and reveals Francesca in a full bright white view.
Two doors slowly open and reveal Francesca standing behind them. Black and white video clips are projected over the doors.
Francesca moves through the open doors in front of the projections and begins dancing in a rigid contemporary dance style. The tone is one of empowerment, strength.
Francesca is shown holding a flickering candle in a darkened room. The camera pans around into a close up of her face. It is strong, serious, expressionless.
Francesca’s gaze turns and is focused directly into the camera as she sings. Her eyes close. The image fades to black.
She is seen crying with tears streaming down her face, her eyes close softly. The image fades to black. Fade in Francesca is singing with full gaze into the camera.
The image shifts - revealing Francesca’s face lit by the flickering candle in her hand. The screen fades to black.
Weeds are shown overgrown over a brick wall. The camera follows across the wall to a wooden gate.
The Third Fate appears wearing black on a desaturated red background. They are looking at a bouquet of black flowers in their hand. Their gaze shifts and turns to the camera. The mood is sensual. The images become even darker, almost completely devoid of color. The Fate intensifies their gaze even more directly into the camera.
The Third Fate reveals a black leather whip, the background brightens into a full saturation blood-red color. They seductively move the whip between their hands and around their body. Alternating their gaze both on the camera and away from it. The Fate gazes into the camera and emotes fierce dominance.
The images flicker showing them holding a black leather high heeled boot black, leather whip, silver handcuffs, black leather paddle, and black leather handcuffs. They hold each item in a sexually suggestive way, looking at the camera with a devious smile. The camera pans up a leg wearing the high heeled boot, the tails of the whip slap across the leather on the boot.
The Fate turns and is dressed in a black leather halter top with buckles. Their eyes intensify, they are powerful, serious, expressing complete control. They move in closer to the camera, only their face and neck are able to be seen. They turn their back and move further away towards the background. The Third Fate is in profile, exposing their back, as they raise the black leather whip to their mouth using it as a microphone.
The Third Fate stands in the garden, the Gardener walks to them. The Third Fate places a small seed into the Gardener’s hand and points in the other direction. The Gardener turns and walks down the path.
Gardener walks along the garden path waiting for a beat as if expecting to be taken down another path, nothing happens. The three Fates appear and speak.
The Gardener enters a desaturated golden toned garden. She sits down on a concrete ledge and begins singing passionately. The wind blows and varies in intensity following through the Gardener’s hair. The mood is one of revelation that leads to feelings of comfort and hope.
The Gardener sits on a wooden bench surrounded by the three Fates in the garden. The camera zooms in on a sundial with the inscription “Time Began In A Garden”. The image blurs, and returns the four sitting on the wooden bench as they each begin to sing.
The camera pans out to a collage of one hundred pictures of people with flowers. They are the community of people in Lost Garden.
The image returns to the Gardener sitting alone on the bench. She smiles, her face brightened by sunlight in the sunlight, and looks up towards the sky. The camera pans upward. We see flowers blooming in a tree and a bright blue sky. The picture fades to black.
Credits scroll over a field of diverse flowers blowing in the wind. Animated birds flying around the screen above the flowers.