32.51 2019

32.51 is a single-channel essay film that explores the instability of place, space, and landscape through a language of abstraction, fragmentation, and nonlinear storytelling. Anchored by a shapeshifting first-person narrator, the film resists fixed identity or geography, instead occupying a fluid position between subject and terrain, memory and myth.
The title—drawn from a geographic coordinate—suggests specificity while withholding context, mirroring the film’s refusal to fully disclose its location or timeline. As images dissolve, reappear, and rupture, the film’s visual and narrative logics mirror the fractured ways in which landscapes are experienced, remembered, and politicized.
The first-person voice slips between human and nonhuman perspectives, acting alternately as inhabitant, witness, and embodiment of the land itself. This instability challenges the viewer to consider how storytelling constructs place, and how that place, in turn, shapes the conditions of narration.
In resisting coherence and resolution, 32.51 becomes a meditation on the partial, the provisional, and the porous—inviting a reconsideration of how we come to know where we are, and who is allowed to speak from it.