Bone Wind Fire

The scouts

Three dead painters talking to themselves through their own words—it's the most respectable experimental essay film you could make, which is exactly why it doesn't need Felix to champion it.

Sharpe's decision to let O'Keeffe, Carr, and Kahlo speak through primary source material rather than interpretation positions this firmly in the essayistic documentary tradition; the restraint of form—voices, letters, images in dialogue—becomes its own argument about artistic process and lineage.

The generative choice here is trusting the letters themselves as performance: letting these three voices occupy the same temporal and spatial plane without narration or mediation forces every sound design and image selection to work twice as hard, and you feel that discipline in every cut.