Los Angeles is a dramatically different place than it was when Anna Homler first hollowed a loaf of bread to fit her head in the early 1980s. But meeting Anna in the back of a car in 2016 on the same roads her 1960 blue Cadillac The Whale once travailed, evidences a fluidity – and circularity – in the Breadwoman tale.
Breadwoman Tales & Trails, a new documentary by Hazel Hill McCarthy III & Douglas McCarthy, is the telling of two intersecting stories: the story of Anna Homler, performance artist, and the story of Breadwoman, the alien figure armored in bread who sings in a found language.
Told with the same measure of mystery and modesty engendered in the figure herself, we are invited into Homler’s archive of sound, story, and dispossessed objects that speak in their own voices. We do not travel to a historical time through Homler’s memories, rather an altogether other time.
In Breadwoman Tales & Trails, we follow Homler’s path through the many containers of, and associated with, her art – from The Whale to the veil, the snail’s shell and the loaves – before returning to the beginning before the beginning – the ancient future of Breadwoman.