Reynold Reynolds has transformed the main space of Christopher Grimes Gallery into a combination film set, screening room and archive devoted to his yet unfinished film, "The Lost."
A miniature German town stretches across a raised platform, sprinkled with fake show, with a camera crane slung overhead. Vitrines hold storyboard drawings and photographs of actors, while elusive fragments of the film unfold in multiple projections around the room.
It is, narratively speaking, a bewildering affair, filled with sexually ambiguous cabaret dancers, mad scientists, drunken barroom scenes, erotic fever dreams and some business involving the imprisonment of nude individuals in large tanks of water.
Built on the remnants of another film of the same name that was shot in Berlin in 1933 but never finished -- the footage is periodically intermingled -- the film is an ambitious and clearly impassioned undertaking, filled with captivating imagery, expertly shot. With so much to claim the attention of the eye, the obscure narrative isn’t such a problem.