Buttered Daylight, the film, features an anonymous character, the neo-primal self, going through everyday actions in a haze of orgasmic homemade aesthetics. The character is born of a machine, and every action is poetic, magic, a divine deal for an earthly reward. The character interacts with objects and animates his machine companions, most prominently man’s most loyal machine companion and friend, his car. Captured in the overdramatic and indulgent, universal, media language, the director is always implied, setting the action and choosing to frame it in the eerie and discomforting advertising qualities that are informing the singular social cyber brain. The questions left to ponder are how we interact psychologically with a new digital and electronic world order, how the media is using our identity and emotional reactions to everyday rituals and vibrant aesthetics, and how the personal, esoteric human landscape can be portrayed in media
