BMX Bandits Forever Traditional Cache

A masterpiece of cinematic quasi-magic-realism, very much in thrall to Godard and Truffaut’s aesthetic, replete with a distantiating Verfremdung that evokes Brecht at his most polemically abstruse. The spectator is at once him/herself simulacrum (or indeed fractured cultural mirror) and bearer of celluloid epiphany in this disquisition on unceasing motion, which evokes image as thief (or “bandit” - highwayman) of desire in Debord’s ideologically moribund “society of the spectacle”. The BMX - the “cycle” - becomes a metonym for life itself, turning as if a wheel on the caprices of youthful abundance and fecundity, to end its superficial existence as a superannuated fad must perish, in a dwindle to aged redundancy. The very nature of recreational cinema is thus called into account; through a mise-en-scene that purposefully and self-reflexively explodes notions of suture and consequent artistic rupture, Bandits holds forth against its own, revolutionary coups de theatre, challenging, distorting and toying with our perceptions of classical justice, the “natural”, and the sublimely revolving (yet easily punctured) inner-tube of carnal temporality: thus “spoke” Zarathrustra.

• Hotwheels custom motorcycle series
• Photos of Nicole Kidman and BMX bikes
• Super-special first-to-find prize
• Logbook, pencil and stash-note