Peter Bo Rappmund’s style can be simply defined as a journey traversing space. His films are a topographical chronicle of culturally and politically defined territories ─ Tectonics (2012) serves as an existential portrait of the Mexico-United States border, Topophilia (2015) unfolds along the 800-mile Trans-Alaska Pipeline System, Communion Los Angeles follows the 110 Freeway in Los Angeles. Sound is an original component in Rappmund’s films. Although its volume may be manipulated, it is recorded from the filming location or its neighboring spots. Communion Los Angeles, which will be exhibited at this year’s festival, integrates the congested city noise with the undecipherable sound of trickling water, car horn, and wind. Rappmund matchlessly drives the narrative through an intense montage rhythm without directly referring to a sociopolitical issue.