-2.20 (2003)

The film’s visuals and sound design combine to create a feeling of slow, mechanical movement. Surfaces scrape against each other, layered with electronic sounds that suggest a hesitant exploration. The music draws from a wide range of acoustic styles, from pre-recordings to modern electronic music. It blends vaudeville with contemporary noise, featuring earthy tones, building and receding sounds, pauses, and repetitions. Looped audio from old loudspeakers is integrated into the present. Billy Roisz has built a visual work dedicated to the record, a format that has captivated audiences for generations with its content and design.