Anthony, un hombre de 80 años mordaz, algo travieso y que tercamente ha decidido vivir solo, rechaza todos y cada uno de las cuidadoras que su hija Anne intenta contratar para que le ayuden en casa. Está desesperada porque ya no puede visitarle a diario y siente que la mente de su padre empieza a fallar y se desconecta cada vez más de la realidad. Anne sufre la paulatina pérdida de su padre a medida que la mente de éste se deteriora, pero también se aferra al derecho a vivir su propia vida.

Myra and Galen, two young adults, cope with their drug addiction through willful ignorance; however, the reality of their situation begins to unfold, tainting Myra's childhood memories.

Intriguing and transgressive, Jamaica has always been considered the most attractive island in the Caribbean. The place in the world that plays, sings and dances at all hours of the day and night.

Una mujer sueca recorre los recuerdos de su infancia después de un accidente aéreo en China.

Hit Him on the Head with a Hard, Heavy Hammer departs from the handwritten memoir of the filmmaker’s father and his experience of displacement during wartime. Referring to the notion Thomas Hardy termed ‘The Self-Unseeing’ in his eponymous 1901 poem, the film returns to childhood and the matters that harden us: upbringing, social status, education, labour, and familial bonds. The memoir weaves into the film as both a contemplation on mortality and an illustration of fading memory, reflecting on how we pen our pasts and how they can be re-told.

A forgotten person faces the material disappearance of what it passed. Oblivion gradually consumes everything, destroying every possible illusion of eternity. In memory of those who no longer exist, neither as a face, nor in our memories, nor in a short film.

Solomon uses chemical and optical treatments to coat the film with a limpid membrane of swimming crystals, coagulating into silver recall, then dissolving.