HORSE OPERA chronicles a neophyte’s initiation into the storied scenes of New York City’s Loft party. The film began as an experiment in writing. I wanted to see if I could write descriptively, from observation, without relying on citation, something I’d grown self-conscious about. But reading is a big part of my life and work, and rather quickly several authors began to assert themselves into the narrative.
The social interactions of the animals began to remind me of the dynamics of the dance parties at a time when human intimacy had become seriously—and tragically—constrained.
Another experiment involved trying to keep myself out of the picture. Like the act of citation, my presence on camera had begun to feel predictable, and I’d hoped to make a film in which only my voice would be heard.
Midway through writing the script, in March of 2020, I moved to a house in the woods and found myself surrounded by birds, wildlife and farm animals. The social interactions of the animals began to remind me of the dynamics of the dance parties at a time when human intimacy had become seriously—and tragically—constrained.
I began filming the birds and equines through various scopes and binoculars, in all seasons, and eventually, I understood that I could not entirely exit the frame. A wise friend told me: your body is deteriorating, you’re aging. It’s part of your work.
Moyra Davey
