Experimental film where the only architecture that matters is the architecture of dreams. Epcar films the exteriors of houses, people and objects in a mesmerizing way, inviting the audience to a journey guided by music either disturbing or sublime.
In his sixth film, Zachary Epcar delivers an ironic and sensorial investigation on suburban life. After the luxury restaurant (Under the Heat Lamp), the gated community (Return to Forms), car traffic (Life After Live) or the soap opera (Billy), he reaches an entire community: The Canyon. This geographic expansion translates into a continuous zoom-in (from film to film and also, formally, within the films themselves) that moves towards the void: of capitalist nihilism and the environmental crisis, as the inevitable fate of everything and everyone. (Ricardo Vieira Lisboa)