Desolate landscapes are the protagonists. Sound fragments dictate the direction. The drama could begin at any moment. During his travels through America’s West, filmmaker John Skoog discovered a new country. In SHADOWLAND, one view of a Californian landscape chases another. Slowly, almost imperceptibly, the landscapes flow into each another. Deserts become forests become water, the street from a car, the river from a boat. Shot on 16mm and in black and white, the montage induces an analogy that recalls the photographs of Ansel Adams and Alfred Stieglitz. SHADOWLAND is a sensual experimental arrangement in which the shift of perceived understanding occurs on a visual and auditory plane.