Transposition of the Great Vessels

The Murder of Hi Good is a true-crime revisionist western set in Northern California, 1870. It details the eventual murder of California’s most notorious Indian hunter; Hiram Good. Most historians believe that his indentured servant “Indian Ned” killed him, a native boy whom he’d raised as a son. It’s suspected that Ned was influenced by the nearby Mill Creek Indians or “diggers”, who were struggling to eke out an existence on their ancestral lands.

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.