The Heap is a film whose nature evolves several times in what is, at least to me, a very satisfying way. It starts like a grounded space thriller, becomes a corporate satire that bends into absurd comedy, then turns sour into a tragedy of societal hopelessness, before finally expanding out into an exotic and original speculative futurist worldbuilding. I'm currently working on my second draft, but the first draft is perfectly wonderful and if you would like to read it in its current form please reach out.

The Heap is the third feature I've written, and is notable amongst them in that time is completely linear. I consider this fact a step forward in my own maturation as a writer. Though I love a good dream-like ellipse, and I still consider them when the subjectivity we are meant to relate to is exotic, such ellipses draw attention to the medium and form rather than the diegetic world and characters. For a writer like myself who can't help but build worlds, I now believe that "immersive cinema" is the only viable prescription, because what good is a world if you aren't in it. I struggled with this prescription for many years because I thought that I knew of counterexamples, notably Last and First Men, The Second Renaissance, Koyanisqaatsi, and Lessons of Darkness. But with each one of those films, I had confused the criterion of note. Their narrative form is indeed exotic and counter-mainstream, but its the things done in support of their narrative form to render them immersive that matter. I should note that in each of those films, time is linear, even if the subjectivity is exotic in other respects.