FIG

FIG is the second part of a trilogy in which Kori Koolman attempts to form some type of familial relationship within the members of an unfamiliar family — to learn and inhibit their habits and routine, and at the same time create a new family model. In FIG a family, living in a small Appalachian town in North Carolina, formed a female character and named her Trixie. By means of an intensive process using method acting techniques and improvisation, Each of the family members individually defined their own specific kinship with Trixie. She could be a daughter for one, a sister for another. She could be a mother, or a lover. At the foundation of the film are intervention-esque monologues, in which each of the family members lays out their grievances and accusations towards the fictional character. Trixie is a space of possibilities within the rigid principles that construct the spaces of reality - church, home, work, relationships. Trixie is a trick in itself. A vehicle. Like the fig, she grows by containing energy that is barely visible to the outside. She appears as a real woman just as the fig appears as a real fruit.