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Monday 4/27 at 9PM

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For The Plasma is the story of two women, in a remote house that's in the middle of nowhere Maine. Helen's job is to monitor the surrounding area via surveillance cameras that are embedded throughout the woods. Charlie is the friend who believes that she's been invited to help Helen prevent forest fires. Instead, Helen reveals to Charlie that, by staring at grainy CCTV images of trees, she is able to predict the stock market on the behalf of shadowy figures. And thus their journey begins...

Variety in its review described For The Plasma as "equally entrancing and off-putting", which was the prevailing sentiment among establishment film critics during its all too brief theatrical run. Said gatekeepers talk the big talk when lambasting Hollywood and extolling the virtues of outsider cinema, yet many in this same group become oddly uncomfortable (even hostile) towards any film that dares to truly do its own thing.

It is kind of amazing how Bingham Bryant and Kyle Molzan's first film, "a stubbornly enigmatic debut feature" according to The New York Times, manages to evoke the works of David Lynch, Jim Jarmusch, Tommy Wiseau, Jacques Rivette, AND Ed Wood. Yet make no mistake: For The Plasma is very much its own thing.

It also demonstrates that if you're going to make a movie about women keeping secrets from each others, as well as hidden meanings found in close circuit footage of forests, it should be shot in glorious 16mm, plus have a score by Keiichi Suzuki (EarthBound, Tokyo Godfathers). For The Plasma is without question the absolute best indie film produced in the US in the last ten that you have not heard about, until now.

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