As content descriptions go, “shapes shake nervously. Lines sway back and forth. The sun sets” is about as literal (and, in this case, accurate) as one can get, but as it is of course with all films, it isn’t the what of the work…it’s the how—and Jodie Mack‘s Two-Hundred Feet is demonstrative of the filmmaker’s remarkable talent for using seemingly simple means towards visually stimulating—even visceral—ends. The physical quality of celluloid is a key element in this 2003 short, and when the sunset of crude shapes gives way to an abstracted visual cacophony, everything that came before is cast in a new light for its distinct presence amidst the film “damage”.