Joe Tripician
At the end of the Reagan years, rocker and confrontational performance artist Lydia Lunch launches a broadside. From a formal podium, she attacks the white male power structure of the US. Next she takes on her parents. Then, the volume lowered and the background the streets of New York, she lets us know what she thinks of life, of herself, and of us, anyone who's watching or listening. Life is depression, despair, and death. She's the girl next door gone bad. And us? Compliant sheep. Lunch lays out a challenge.
A philosophical flume ride through the physical, political and moral borders that inhibit the free movement of people and ideas. Mixing commentary, computer graphics, dramatizations, and investigative journalism, Borders probes the unsettling paradoxes behind immigration, drugs, Star Wars, and other topics.
