“Like Rain” and the three films which precede it chronologically, Couloirs, Our Sylvan Bleating, and The Distance in Sight constitute a project whose overarching impulse is to breach the idea that expansion, as it is traditionally understood, is necessary in a filmic space. I have referred to these films, to myself and to those I have discussed them with, as attempts at working within a "vertical cinema.” Vertical films do not build themselves—their montage, narrative schematics, color, compositions, individual lexicons—out of the pretext that they amalgamate into a larger superstructure, but that their semes—images, textual layers, characters, spaces—operate both within themselves as well as within the whole apparatus of the film.

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