The Detroit-based performance ensemble, The Hinterlands, practice a form of ecstatic training which they see as a provocation towards the unknown — a space both physical and imaginary from which true creativity emerges. Their practice is one of ecstatic play, of finding the edge of one’s balance, and the limits of one’s body. Yezbick trained with the ensemble for a year, always filming while physically participating in the training. With each training they explored new ways to communicate through movement, camera, and sound, thus, providing the viewer with a sensuous, embodied cinematic experience. Yezbick also composed and played soundscapes from audio recorded around Detroit, blurring the divisions between inside/outside and creating a dynamic aural landscape that is never seen.