By assembling these three films, the Endless Dreams compilation provides a unique opportunity to explore the vast array of cinematic modes employed by Green’s filmic oeuvre, and how these are articulated in her layered spatial and extrasensory installations; in this case, a major project commissioned by the National Maritime Museum, Greenwich, U.K., Endless Dreams and Water Between (2009).
Come Closer (2008) functions as a “prelude” to the film at the center of the installation, Endless Dreams and Water Between. A poetic meditation on distance, Come Closer is a short and peripatetic film, casting an affective web between the locations of Lisbon, San Francisco and Brazil. Through its Portuguese narration, the film recasts Green’s ongoing relationship with the Lusophone world as a visceral reminder of the complexity of intertwined relations and how history resides in the present.
Endless Dreams and Water Between (2009) is a feature film with four fictitious characters sustaining an epistolary exchange in which their “planetary thought” is woven with the physical locations they inhabit, visual and aural characters in themselves: the island of Manhattan, the island of Majorca, in Spain, and the islands and peninsula that form the San Francisco Bay Area.
Excess (2009) provides a rumination via handwritten index cards and an assortment of images recalling histories and ambitions of varied film productions.
"Inconclusive, dreamlike and both referential and peripatetic, Green’s Endless Dreams and Water Between concerns itself with the geophilosophical precipitation of thought, as four women driven by a curiosity about their own location and inclinations move toward a speculative coherence that the work preserves in a state of ‘clear-obscurity.’ The island, a ‘non-location’ which serves as a navigational point of reference, also allows its inhabitants those uninterrupted vistas that have provided writers with (sometimes, as is the case of George Sand, ultimately disappointed) dreams of freedom. […] It is by ‘staying,’ by contemplating their island locations, that Green’s protagonists move towards a collective thinking that expands into the real of the abstract only on the basis of their locatisation and the contingency of their respective interests and circumstances."
– Robin Mackay. “Editorial introduction: Geo/philosophy.” Collapse: Philosophical Research and Development, vol. 6 (2010).
