In 1999, wunderkind Harmony Korine made a movie called julien donkey-boy. It was the first American film awarded a Dogme certificate by the faux-austere Dogme 95 filmmaker gang in Denmark. julien donkey-boy was not faux austere, it was the real thing. Actually, it was nearly unwatchable, a salad of enlarged, low-rez digital video heaped atop a simple and ugly story. For all that, it was significant, because it pushed the film medium so far that the seams started to show. When film is comfortable, and functioning properly, it seems flawless; the medium itself slips into invisibility. So you tend not to ask, “How does this work? Why does this work?” Those are important questions, and julien donkey-boy, in disrupting our ability to just watch the movie, thrusts them into the foreground.