Lit in cobalt. a twentysomething woman rests her head on the pole in the subway train. A fiftysomething man stares ahead. Lionel Richie sits in his seat and sings. He watches as a second twentysomething woman walks down the aisle. She glances at him and sketches the picture above her in her notebook. He looks up at the picture.
Richie reaches for the second twentysomething woman as he stands by a staircase. She walks to the left on the main platform. He turns his head left as he walks sideways on the staircase. She stares at the platform as she walks upside down. He sings above her on the same platform. She walks to the waterfall. He leans against the column and watches her. She closes her eyes and spreads her arms the water washes over her.
As he walks, he sees dozens of twentysomething women resting their heads on the platform or sitting on the steps. The second twentysomething woman walks on a tiered square platform. He walks on the tiered square platform as she turns her head. They stand across from each other. She places her hand on the window with his as the train drives off in the Berlin Alexanderplatz station. He stares at her sketch and drops it on the ground.
Lionel Richie hangs up the second twentysomething woman’s sketch in his cubicle at work. He had seen her only once. However, he kept finding her sketches throughout the city. They were taped to the walls of the building. One was glued to the side of the pump at the gas station. Another one was stapled to a streetlight.
A painter had mentioned the sketches as an inspiration in an interview, which was the all the search engines could find on her. No one seemed to know who the second twentysomething woman was. He pored through social media and saw some imitators.
The second twentysomething draws on the subway in Spain. She fills in Lionel Richie’s eyebrows and creates a line for his jaw. Perhaps he’ll realize it was her. He followed her into every road and hallway in her art. She places his portrait on a bulletin board in the restaurant.
Directors: Wolf Gresenz and Bernard Wedig Year: 2000