Filmed in Filmed in New York, New York, and New Jersey, between April and September, 2025.

While this film is finished save for a few last-minutea adjustments, it is not going to be posted in full for quite some time. The 50 4K films I have made up until now are between one and fifteen minutes; this one is 74. At least as of now I care about it more than anything else I have ever made, or written. Therefore, I especially want it to be seen correctly, which is to say in high quality 4K projection on a reasonably large screen, and will do what I can to seek public showings. My attempts to do so with my existing films have failed, so this attempt may fail too, but at least I will try. You can see the first three minutes of the film here. (Airplanes are far more present here than in most of the film.)

It focuses on thirteen different bridges in New York City, two of which are also in New Jersey. "Focuses on" can include images taken from very near the bridge but which do not show it; very occasionally another bridge is shown instead. The thirteen bridges are accompanied by two "metaphorical" bridges, airplane flights from Chicago, where I live, to New York.In the choice of bridges, as in the compositions and editing and rhythms of nearly all my films, it strives for a certain expansiveness, so that when one of the few I know who loves my work spoke of feeling a connection to Rossellini, it made me very happy.

Four of the bridges are entirely for pedestrians; five more are larger and include automobile and pedestrian traffic; the other four are large suspension bridges. There is at least one bridge contained entirely in each of New York City's five boroughs. Two of the thirteen have one end in New Jersey. They all cross bodies of water, but only one body of water (the East River) is repeated, so bridges crossing twelve different waters are shown. That a bridge's main function is to connect two parts of the planet not easily traveled between otherwise is not lost on me; this film surely reflects the three strivings, toward connecteness, equality, and love, mentioned in my Statement 11

One close friend, who I will call "K," and who I showed it to respended thus:
Wow. Tremendous. Great. Last shot is amazing, from the image itself, the downward flow, to its extended duration. It should be a favorite among fc fans. For no logical reason I was skeptical before viewing it. Just because you announced it as special, and the fact that it was so much longer than the others, somehow made me dubious. That's happened before. And then I watched it. And ... OMG! I was constantly in suspense as to what the next shot would be, how it would interconnect with what preceded it and what would follow. I loved the unity of it all, the bridges seeming to me not so much leading from and to but rather between. Bridges as framing within the compositions, and the editing framing a world view, a flow that seemed at times to embrace all life, from the blades of grass to the man-made industrial sites, the bodies of water, the roadways. Loved all those shots of people (and sometimes ducks) with their images reflected in the water. The static images with cars whoosing past the frame, immersing the viewer more deeply in the sense of being there. Many memorable shots, but at the moment I think of the single shot with the most camera movements, panning up, across, down, back again, etc. And the still shot looking down on the line of waves coming to shore. The shots from within the moving plane (descending early on, the shaking towards the end) and the selection of clouds. Each having its own importance and impact but also crucially 'interacting' with the shots around it. "