In Arms Are Overrated, existentialist questions are formalized in layers, in the play on puppetry as a representational form. Concerns incumbent to embodied life, things like desire, distress, rumination are restaged in a precarious phantom state where there is only the representation of a body, and the representation itself is not itself. Formal cinematic moves raise these barely-beings temporarily into "a world that matters." And these same cinematic tropes are also their undoing.
In For the Birds, a charming yet sharp critique of the banality and repetition of everyday life, Kahn draws two animated birds on screen. The birds perch motionless in a tree discussing their disaffection with everyday responsibilities—getting gas, folding towels, doing dishes, "grooming in...
In It's Cool, I'm Good, a bandaged and injured protagonist (Kahn), seduces, entertains, harasses and charms a slew of nurses who have agreed to hold the camera. The "patient" is at once selfless and narcissistic, verbose and elusive, vulnerable and manipulative. With a 22-track surround sound...