Rodrigo John’s bravely experimental work features 11 years of footage, all shot from his high-rise apartment in Porto Alegre, Brazil. Think Rear Window if James Stewart’s protagonist were a filmmaker, and a man investigating not murder but things more insidious, more mysterious, and, ultimately, more disturbing. There are so many different vantage points, camera positions, and focal distances that we never settle on any point of stability; John’s film is a continuous adventure of vision, taking us from beautiful downtown vistas to closer views that reveal ennui, destruction, and political unrest. -