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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 instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, 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 from 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 gas stations, a camp under a bridge. The 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 too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?陌陌影视陌陌影视再一次心跳苦艾草天音琴魔危险的二人-K2-池袋署刑事课神崎黑木待命警察站稳了魔翡翠国语我想住火星杀死汝爱生死不离二分之一美少年命运三位绅士兄弟新寻秦记老幺新宿天鹅善地第三季我爸爸不是人张震讲故事父亲和儿子的地下偶像龙门阵爱的机密第四次世界大战再见，残酷的世界鹰眼第一季
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 instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, 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 from 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 gas stations, a camp under a bridge. The 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 too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?陌陌影视陌陌影视再一次心跳苦艾草天音琴魔危险的二人-K2-池袋署刑事课神崎黑木待命警察站稳了魔翡翠国语我想住火星杀死汝爱生死不离二分之一美少年命运三位绅士兄弟新寻秦记老幺新宿天鹅善地第三季我爸爸不是人张震讲故事父亲和儿子的地下偶像龙门阵爱的机密第四次世界大战再见，残酷的世界鹰眼第一季