Experimental filmmaking seems like its only referred to as a formalist category of film, something that only relates to the material of film. So few people are looking for a way of communicating images of different qualities seen in a sequence over time that transcends narrative language. It is higher and lower than narrative at the same time.

Bridget Brophy ruptures this formalism in experimental film making with Northern Void. According to Simon Sellars at Sleepy Brain we are presented with a:

savage vision.... of completely irradiating Australia’s suburban “non-places” and seeing what bizarre life forms sprout in the aftermath. An extrapolation, of course, of what he perceives as a process that’s already in place in a late-capitalist society, specifically Plenty Rd, where, he writes, “cracked 60s brickwork, shrivelled 70s council shrubbery, peeling 80s computer-typeset signage, 90s Day-Glo painted lettering on darkened windows [represent] the corpus of business: dying slowly while tethered to an indifferent life-support system.”