James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up i@丈母娘的幸福生活@nstead into a series of static shots of just under two minutes, one for each state, presented alphab@一世枭雄下载@etically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move f@玉浦团之玉女心经@rom A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and g@赘婿网剧在线观看@as stations, a camp under a bridge. T@奥特曼x@he past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts @最新发型视频@too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?