Synopsis

Steven wants to be adored, and has been much of his life. A gifted, flamboyant artist, his narcissism is taken in stride, even admired as an affectation of genius. He thrives on attention, and deserves much of the praise for his work. All that is gone now though. The external world ceases to exist. It’s just him and Stefi, the sister whom he cherishes. They’re on a wild, debauched, bohemian ride: creating a deeper fantasy world of art in the fantasy world that has been thrust upon them. Is it enough though? Can Stefi take the burden of being Steven’s surrogate for a world that worshiped him?

A musician in her own right, in potentia, she seeks to navigate the world by adopting Steven’s callous arrogance as her own armour. The fit though is loose and the hinges pinch and bite into her flesh. Being herself hasn’t really worked so far. Now that she’s moved to the city too, living with her hero brother, she feels both inspired and inadequate. God they have fun though: but it is on his terms and she is beginning to realise, against her will, that they are not her own.

It is through Cameron, a new partner and she thinks maybe not just another one, that she begins to realise Steven’s shine is blinding rather than illuminating her. He’s a little older, 28 to her 21, and does not play games. He has fallen in love with her. He wants them to be together, for her to move in with him. This is a problem for Steven. Initially he was happy to have someone else around to witness his genius, assuming he was just another bloke, another plaything for them to batter about until he scurried of and they’d get back to the Great Work - a sprawling sculpture which colonises their backyard, creeping further and further into their lives. As the days blend together the sculpture evolves, marking time in abstract geometry wrought of trash by two of the innumerous isolated in this frozen city.

It is Steven’s sculpture. He draws people into his maelstrom of pure artistic expression, he needs them, but there is a sinkhole at the center and everything spirals towards it, and down. Stefi is becoming different, spending more time with him. Her adoration is slowly withdrawn, the last person he had. Through control and manipulation he keeps her off kilter, second guessing herself, remembering everything he has done for her. How could she leave him? Doesn’t she know he’s mentally ill? This inculcated guilt and obligation oppresses her true desires and frustrates Cameron’s intentions: and Cameron does have a temper doesn’t he.

Then one night, Stefi doesn’t come home.

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