"The final format is a 16mm blowup from an original Super 8 film, comprised of sequences shot off of a television monitor, which in turn played a videotape of a 35mm film, Pier Paolo Pasolini's Salo or the 120 Days of Sodom. The images Fogel kidnapped are those of several young men, some nude, seemingly alone together in a small, ancient-looking bedchamber. The differences in frame-rate between camera and monitor cause black horizontal bands to strobe languidly up and down the screen; the five layers of media transmission have washed out the original colors into an electric blue-gray . . . The total effect is one of deep, erotic longing. It presents the metaphor of cinema as an eternally youthful, luminously beautiful 20-year-old boy, who is nevertheless slipping away, through layers of time, into a tantalizingly unreachable distance." —Ed Halter