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HER WILDERNESS (2014) - Official trailer

2014/experimental/65 min.

HER WILDERNESS weaves an elliptical, minimalist narrative of a lost, wandering child in the wake of an affair that may or may not have even happened.

Blending memory with fantasy, Frank's second feature film is a portrait of four women wondering just how much power they wield in choosing their next stage in life.  A multi-platform project that is both a feature installation film and an online interactive experience, it is an investigation into responsibility, identity, and choice.  A fairy tale for adults.

HER WILDERNESS appeared on many year-end lists, including being named "Best Experimental Film of 2015" (Indie Outlook), "One of the best films of 2015" (Smells Like Screen Spirit), "One of the best undistributed films of 2015" (Film Pulse), and "one of the best films of 2016" (Film Pulse).   The film is now available for streaming on both Fandor and Kinoscope Films.

Starring Lauren McCune, Morgana Shaw, Crystal Pate, Jack Elliott, and Riley Templeton in her film debut.

http://www.herwilderness.com

screenings:
-2014 Sidewalk Moving Picture Film Festival (world premiere)
-2014 Dallas Videofest
-2014, 14 Pews (Houston, TX) 
-2015 Kinoscope Film Series (The New School/NYC)
-2015 Micro Wave Film Series (Madison, Wisconsin)
-2015 Middle Coast Film Festival (Indiana)
-2015 Edinburgh Art Festival (UK)
-2015, Northwest Film Forum (Seattle, WA)

press:
"There are filmmakers out there playing with the form, breaking the rules of narrative, and creating some truly unique works with distinctive voices. To find them, you might have to go down less familiar paths, but the rewards are films like Frank Mosley's "Her Wilderness".  
-INDIEWIRE

"The film possesses an emotional richness that is felt from the start...provides the sort of fulfillment of good poetry."
-HAMMER TO NAIL

"A mesmerizing film... by a superb actor and filmmaker."
-ROGEREBERT.COM

"A delicately, fate-fixated mid-length enigma.  Thoughtful, approachable, and unpretentiously curious about the nature of motion-picture artifice, Mosley is the sort of experimentalist we don't see often enough."    -KEYFRAME

"Frank Mosley’s entrancing hour-long picture, “Her Wilderness,” is a cinematic meditation comprised of fragmented narrative threads. Mosley links these characters in ways both startling and provocative, while inviting the audience to draw their own conclusions. It’s the sort of film that burrows deep into your subconscious like a vivid fever dream, tempting you to venture deeper and deeper into its wilderness of abstractions at once alien and achingly resonant."
-INDIE OUTLOOK

"The film’s opening scene unfolds at the languid pace of honey spilling down the side of a jar, which is exactly the point. This film is never about establishing a traditional structure. Instead, Mosley created a film about feeling. Right off the bat, Mosley sets the tone of the film by reaching out to the audience on a soothing, hypnotic wavelength that wraps itself around viewers like a warm blanket and ensconces itself somewhere deep inside their sub-consciousness. Mosley chooses to strip away all of the modern day clutter, offering a lean cinematic presentation in tune with his artistic expression. While Her Wilderness falls under the umbrella of film, in this instance, Mosley approaches the artistic medium more like an animated canvas. Mosley utilizes the passage of time to convey his perspective the way an Italian Renaissance painter applied shading to provide depth...This movie asks viewers to perceive events in a vague manner that feels like an intellectual choose your own adventure story, one that allows the audience to slot in their own interpretations.  Like any great expression of creativity and imagination, Her Wilderness is a playground for interpretation."
-SOUND ON SIGHT 

"A brilliant emerging new cinematic voice."
-KINOSCOPE

"One of the most ambitious multimedia experiences North Texas has ever seen."
-FW WEEKLY

"There’s something curiously intriguing about Mosley’s film. Something that just draws the viewer in. The eyes can’t turn away, even in painful moments. It’s just incredibly human, and yet on some level, artificial. Inauthentic in a familiar way; at once distancing and engrossing. See it. The resulting conversation will fill the rest of the day."
-THEATER JONES

"In written form, writer-director Frank Mosley’s Her Wilderness probably would not make much sense at all; but in this purely cinematic universe, the visual associations formed by the string of scenes and images allows Her Wilderness to transcend the narrative form. Mosley’s freewheeling dream logic allows him to create a vibrant fantasy out of minimalistic slices of reality…..Her Wilderness is not made for multiplexes, it is designed for a much more intimate experience; it deserves to be studied and reevaluated, with each viewing possibly triggering new interpretations or insights. A compilation of occasionally oblique visual signifiers, Her Wilderness is a unique cinematic experience that needs to be seen (and interpreted) as the sum of its parts — the old idiom “can’t see the forest for the trees” seems to take on multiple meanings here." 
-SMELLS LIKE SCREEN SPIRIT

"Its trance-like quality actually extends itself throughout the entire production...from Clinton Edward Niosi's score – oscillating between foreboding and calming – entwined within the soundscapes of nature, to cinematographer Ron Gonzalez’s measured and unhurried surveillance of the spaces in a series of graceful camera movements executed with careful thought. Almost inviting the viewer to succumb to slumber, lulling them into their own dreamworlds wherein they transport the components of Her Wilderness in order to manufacture an artistic work distinctively their own."   - FILM PULSE

"This lyrically short feature is entirely enrapturing.  Inspired by Edward Albee's Three Tall Women, as the director himself explains, it feels like something Terrence Malick could (and probably should) make this decade, and yet it's an altogether original, softly phantasmagorical piece of filmmaking.  The opening credits, blocked-outlined like a novella's preface over a white Zen-like background paired with the crescendo of lapping water, conjure a pastoral fantasy before the verdant scene is even introduced.  While the four women's narratives exist independently, the haunting mood steadily connects them as ghosts, memories of one another at different stages of life- dreams of lost youth or forecasts of adulthood.  Ron Gonzalez's gorgeous roving camerawork heightens that sensibility with each passing second, especially in the girl's wandering through the forest with a basket like Little Green Riding Hood.  And Clint Niosi's mystical chamber score, attuned to Jonny Greenwood's evocative methods, is the perfect adhesive.  It's impossible to shake the cumulative effect of Her Wilderness as a cinema poem (perhaps the antithesis of the essay film?)- from the poses of the women in various contemplative states, to dialogue that always feels like an extension of the previous scene even if the subject has changed ("listening," "God"), to mirroring shots that subtly bloom and transform the context of those that came before.  The opening image at the dock remains burned in my memory ("Ooh, memory burn").  The female characters exist in a unique hyperreal space that simultaneously suggests a movement through contemporary time and the perennial.  The perfect antidote to the over-explanatory Clouds of Sils Maria that immediately preceded, Her Wilderness conveys more in almost exactly half the duration."  -LAKE FRONT ROW

"A terrific film. One of the most impressive aspects of the movie has to be the sound design and mix. It's as though all the voices in the film exist as their own entity, as though sonically the film registers as 3D in 2D: voices as an element of a foreground plane: existing at once in a vacuum but also liberated: body and soul disassociated, and in this separation, a clarity of their unity. An extraordinary opening credits sequence streams for five minutes as letters slowly emerge upon stark white leader as though embossed — the full list of participants atypically placed at the front of the film so at the picture's end all that remains is a cut to white and a fade to black."
-Craig Keller, "Cinemasparagus"

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