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t r i p

2 0 1 5

The interlude, the in-between, and the interstitial spaces in films are traditionally shot by a second unit. In classical film narrative, the second unit shoots material that does not require principal actors. In trip, Lily Worrall assumes this role, filling in the gaps of a family photo album. Worrall combines her own digital recordings with slide film inherited by her grandfather. Here, shaky handheld footage, close ups and sharp cuts, puncture the stillness of these patrimonial images. 


Viewers are invited to project their own memories onto these personal records. Stripped of their family context, the gaze encounters estranged images in their raw materiality, the homely made unhomely.

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