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Inside the Backrooms Set, Where Even the Crew Got Lost While Filming. Architectural Digest by Maya Ibbitson. Photo by Asterios Moutsokapas.

Advertisments for Architecture, Andrew Kovaks on-line collection.

Advertisments for Architecture, Andrew Kovaks on-line collection.

An experimental film that begins as a quirky, potentially LGBTQIA+-friendly romantic comedy, in which a woman has a crush on her boss, and her direct report has a crush on her, at a, uh, let's say generic tech company somewhere hip but unassuming enough that it can reasonably pass for Vancouver and/or Pittsburgh. As the film progresses, we see different aspects of the film stripped away, like a slow motion Dogville, or The Tragedy of Macbeth. Props disappear, and characters have to mime their usage. Backdrops and sets are removed, on-camera, during repeated, differing shots. But the love triangle beats of a rom com keep coming right on time, so one guy shows up to a date with flowers, only to have those flowers pulled out of his hand by the prop master before her door opens. Physically, the space begins to close in on the characters, forcing them into ever closer proximity- despite being in different scenes. Eventually the characters' costumes are removed, revealing hospital robes, pajamas, and grippy socks. They stop moving around, and all take seats in a circle, right at the climax of the film where she realizes she doesn't want to give up either man. They are in group therapy in a long-term psychiatric care facility. The three of them are very much in love. [Cue upbeat Pharrell Williams song.]

Erykah Badu interpretive dance music video for Out My Mind, Just in Time (Movement 1)