Summary

UNREACHABLE HOMELESS is particularly lost on the eye, at times changing color, focal length, or focus with every other frame. Its staccato rhythms are not unlike those of Paul Sharit's flicker films, though the use of continually recognizable imagery creates compelling effects within the picture's deep space as well. Wyborny's shots are brief but filled with interior motion. He varies his exposure so that background areas suddenly materialize, or uses single framing to scurry occasional cars or barges across the screen.