I'm curious to hear what loyal thinks after he sees it.

I'll post my thoughts. Essentially a copy and paste job from the Awards forum, with some added stuff...

It is Koyaanisqatsi. It is George Washing. 'Cept it's a "documentary" (you could not use that term lighter) about horse sex.

But it's not about horse sex. It's about loneliness, and feeling like you have no place in the world, and the depths some people will sink to in order to fill that void. The movie is filled with long, perfectly composed and wholly open shots of seemingly nothing. A winding highway, a field of wheat, forests, mountains. It's all about the emptiness of existence. The Seattle skyline at night pops up late in the movie, and it feels foreign or alien. The movie entrenches this isolation in us, so it is strange to see a city full of life. It is impressionistic, really. It goes so far out of its way to not make a statement on the morality of the subject that it kind of left me feeling troubled by it. But I think that is a good thing. Guys like Michael Moore could learn something from this sort of essay filmmaking style. There is this moment about half way through, where an actor who worked on the movie (the movie is 95% re-enactments) is being interviewed against this harsh white backdrop. It's a medium shot, so we see him sitting down and see the stool he is sitting on and it is kind of strange. But he talks about how he had a child die in his arms once, and how impactful death is, and how it's never trivial and always tragic. It's pretty powerful. It feels like it's a non-sequitur, but it really serves the movie as a whole rather well. It challenges the notion that because of the way this man died, he deserves to be mocked and ridiculed, I think. It also comes at a narratively perfect point - as soon as we have reached the section in the story where the man dies.

Oh, and the score (that runs throughout the movie) is deliciously close to something Philip Glass would compose, which kind of automatically makes it better than most movies.