Objects in the rear mirror appear closer than they really are is a coming-of-age road movie through the lives of four generations: fragmentary, poetic, structural.
The film spans a kaleidoscope of images in which the filmmaker self-reflexively explores family history and its representation in various media dispositifs: written memories, still and moving images, memory objects. It is less about illustrating a story and more about the story of images themselves.
The film is entirely shot on Super 8 and hand-processed, navigating the thin line between home-movie aesthetics and a poetic-structural cinema. The sound is a collage of fragments recorded on cassette tapes: fragile guitar chords, frail dialogues, church bells ringing, analog synthesizers.
Objects in the rear mirror constantly oscillates between representation and abstraction, content and material, direction and aimlessness, until it comes to its final conclusion: the personal is structural.
