Inside/Out

Against the barren wintry backdrop of a psychiatric hospital, inpatients and authority figures drift through turgid psychological states. We meet the artist Jean and his lover Monica, patients of the facility, and several characters circling its periphery: a guard, an Episcopalian priest, and a church organist. Minimalizing dialogue and plot intricacy, Tregenza concedes only kernels of information, demanding that the viewer breathe dimensionality into his archetypes. Acting out primal instincts of lust, envy, fear, and love, subjects teeter vulnerably on the brink of sanity and insanity, freedom and repression in their attempts to navigate their existence. Against the barren wintry backdrop of a psychiatric hospital, inpatients and authority figures drift through turgid psychological states. We meet the artist Jean and his lover Monica, patients of the facility, and several characters circling its periphery: a guard, an Episcopalian priest, and a church organist. Minimalizing dialogue and plot intricacy, Tregenza concedes only kernels of information, demanding that the viewer breathe dimensionality into his archetypes. Acting out primal instincts of lust, envy, fear, and love, subjects teeter vulnerably on the brink of sanity and insanity, freedom and repression in their attempts to navigate their existence. Against the barren wintry backdrop of a psychiatric hospital, inpatients and authority figures drift through turgid psychological states. We meet the artist Jean and his lover Monica, patients of the facility, and several characters circling its periphery: a guard, an Episcopalian priest, and a church organist. Minimalizing dialogue and plot intricacy, Tregenza concedes only kernels of information, demanding that the viewer breathe dimensionality into his archetypes. Acting out primal instincts of lust, envy, fear, and love, subjects teeter vulnerably on the brink of sanity and insanity, freedom and repression in their attempts to navigate their existence. Against the barren wintry backdrop of a psychiatric hospital, inpatients and authority figures drift through turgid psychological states. We meet the artist Jean and his lover Monica, patients of the facility, and several characters circling its periphery: a guard, an Episcopalian priest, and a church organist. Minimalizing dialogue and plot intricacy, Tregenza concedes only kernels of information, demanding that the viewer breathe dimensionality into his archetypes. Acting out primal instincts of lust, envy, fear, and love, subjects teeter vulnerably on the brink of sanity and insanity, freedom and repression in their attempts to navigate their existence.