The Murder of Hi Good

A man, disillusioned with his life and bored by his surroundings, mysteriously finds himself in a barren desert. After making his way back to civilization, and encountering a handful of local personalities, the man decides to abandon his former life and reinvent himself as the owner of a junkyard in a ghost town. After his initial euphoria subsides, loneliness and boredom set in, and the man is compelled to spend a few days in a nearby town. There he meets a waitress and her brother, who introduce him to another form of desert existence.

A pair of Japanese siblings get stranded in small-town California and become friends with other twentysomethings they meet, despite the complete lack of a common verbal language.

A three-dimensional narrative enacted at the California Poppy Reserve. It’s part of Mike Plante's Lunchfilm series of commissioned shorts (made for the cost of a lunch between Plante and filmmakers, Naomi Uman and Lee Lynch).

Set in an abandoned exurb in Iceland, the film is a semi-fictional portrait of local teenager "Gunnar" who is obsessed with serial killers. As the filmmakers follow him around the derelict modernist dwellings a narrative emerges of Iceland's financial crisis as well as its precarious future. Collage elements are implemented in order to heighten the overall feeling of post-modernist dread and latent absurdism.

For five years, Schmitt and Lynch followed the buffalo hunt in the American West. Their fascinating portrait of a disappearing world contrasts unspoiled landscapes with commercial influences on the American myth.

A deeper exploration of the relationship between a young witch (Colette Weber Shaw) and an old witch (Marnie Weber) who has sold her soul to the devil.

Moving from Redding to Los Angeles, Roger and Lee Anne hope to make a better life. When their baby is born with a rare heart defect, they are forced to give up those dreams and make decisions that will give them stability. A landscape out of balance begins to emerge.