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The space of the junkyard allows various ‘crash’ narratives to unfold, with the stories of actual crashes and the remnants and afterlife of these machines becoming metaphors for economic decline. This is an investigation of planes as they are parked during the economic downturn, stored and recycled, revealing unexpected connections between economy, violence and spectacle, finding perfect example in the form of the Boeing 4X-JYI, an aircraft first acquired by film director Howard Hughes for TWA, which was subsequently flown by the Israeli Airforce before finding its way to the Californian desert to be blown up for the Hollywood blockbuster Speed. Through intertwined narratives of people, planes and places Steyerl reveals cycles of capitalism incorporating and adapting to the changing status of the commodity, but also points at a horizon beyond this endless repetition.

To Be Takei

Heart of a Dog

Love, Marilyn

Love, Gilda

Harry Dean Stanton: Partly Fiction

In the Realms of the Unreal

The Crash Reel

As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty

Tricked: The Documentary

Sherman's March

Iverson

We Live in Public

A Suitable Girl

Salesman
Seid Hirt und Herde ohne Furcht

The World According to Monsanto
Pretty Bloody: The Women of Horror

Manufacturing Dissent

Holding Our Ground

The (Dead Mothers) Club

In My Genes

Gypsy Caravan: When the Road Bends

The Story of a Butcher Shop

Liberators Take Liberties, part 1