At first glance, Brett Allen Smith’s memory worlds seem slightly otherworldly but peaceful. There is a little pug – curious, bouncy and, most importantly, alive, a harmless explorer of lawns and living rooms. At the same time, the director is driven by an inner fracture, an irritation to be illuminated by means of phone conversations with family members: How real are the memories that had such a tremendous impact on him? Like the hill towering in front of Smith’s inner eye under which two dogs lie buried. And there are sunflowers, imposing plants that are impossible to pick for his five-year old’s hands because their roots have bored so deeply into the soil.