MARGINALIA is a contemplation in shades of grey and periodic color on the state and place of society in a quickly changing environment. It could be seen as a view from the margins. Or, as its title suggests, it might be expostulatory comments on the page-edge of our shared circumstances. Its air is filled with things slipping away to make way for an as yet unknown birth. The characters that we approach most proximately are a family with two young sons. The forebodings in this film have a kind of antidote in the way ideas and skills can be passed along to young generations outside the margins of the main arena of digital entertainment. As educators discuss dropping cursive writing from the syllabus of future grade schools, my interest in all things hand-made becomes acute. Scribblings course their way across the screen as scratches: the margins invade center stage. Images of electrical power occasionally appear as well as a distant Facebook headquarters. Will future writing depend on such things? Could a power outage bring an end to the written word? Not really, but so much and so much more in our lives is dependent on mega-energy.

As with my films, so far, MARGINALIA is silent. The above description should not be considered the correct reading of the film. Images simply flow by and are not at all laden with purpose other than to connect with the viewer's sight and mind. Be unburdened with thoughts of understanding what the filmmaker is trying to say. Most people who find themselves watching poetic films are pretty familiar with what marginal means.