Optical printing pioneer Pat O’Neill uses “his skills in special effects production to extrapolate metaphysical meaning from the ordinariness of industrialized culture” (Scott Stark). In O’Neill’s playful, beautiful film, “trouble in the image” may take the form of a disturbing moment in a narrative, how-to instructions for creating an image, or pictures that break apart and lose their literal meaning. “The film [is] made up of dozens of performances dislodged from other contexts. These are often relocated into contemporary industrial landscapes, or interrupted by the chopping, shredding, or flattening of special-effects technology turned against itself. . . . The reward is to be found in immersion within a space of complex and intricate formal relationships” (Pat O’Neill).