The only artists Michael Snow wanted to model his career after defied categorization, mixing mediums and blowing out boundaries of what was or wasn’t fine art. Artists like Dalí and Warhol loomed large, and each had also deigned to touch the lowly cinema when it was still thought to be below painting or sculpture. Snow saw the camera as a tool that had not yet been utilized to its full potential, not by conventional narrative cinema nor by the avant-gardists he rubbed elbows with in NYC. His best known film, Wavelength, astounded everyone in that scene, and today in 2025, it hits us just as hard. Its celluloid is seemingly ready to disintegrate before our eyes, and it draws forth nostalgia and makes us ponder the subjectivity of memory, personal and collective.Zach and J Brooks gathered in a Chicago loft beside a busy train yard to watch Wavelength for the first time and record their immediate reactions, and they discuss nuclear destruction, Jonas Mekas and Stan Brakhage, how the film was personal to Michael Snow, and the greater history of experimental film.Next week: Belle de Jour (1967) by Luis BuñuelUnauthorizedPod.com for more. Hosted by Zachary Domes and J Brooks Young. Music by hetchy

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