A Long Way From Home

In A Long Way From Home, Jay Rosenblatt crafts a haunting visual poem that reimagines the final hours of Christ as if unearthed from time itself. Hand processed on celluloid, the film bears the tactile marks of its creation — scratches, flickers, burns, and grain — evoking a lost relic rather than a reconstruction. Through fragmented imagery and silent gestures, Rosenblatt explores the tension between body and spirit, mortality and transcendence. There are no words, only the rhythm of decay and light, as if the film itself were breathing the story of suffering and redemption. More invocation than narrative, it feels like a sacred artifact, a glimpse of what the crucifixion might have looked like had archaeologists truly found it captured on film.