I'd Rather Be In Paris1982

... depicts the film maker's individual concern with his physical environment by autobiographically exploring his alternatives: Chicago, San Francisco, and the editing room itself. These urban explorations tend to concentrate on high speed assemblages of city-scape abstractions. Initially the images seem familiar, then gradually grow to take on unexpected significance. This transition from every-day-object into architectural talisman, results from Angerame's obsessive and unique attention to detail, as well as a whimsical sense of juxtaposition. The blue blots atop a San Francisco fire hydrant become just as relevant as the skylines impressive Transamerica pyramid. A man hole cover, rather than a tourist's landmark, tells us this is Chicago. Sprawling masses of concrete, plastic and steel seem to have captured the earth. Nature threatens only with the icy cold waves of Lake Michigan and a apocalyptically red sunset. Human's for the most part hauntingly innocuous, are reduced to soulless, miniscule organisms. Simultaneously random, repetitious, and absurd, their activities, e. g. shoveling snow and marching in a parade, resemble those of amphetaminzed rats in their proverbial maze. Even a Wim Wenders on location film-shoot appears to be nothing more than men and equipment, standing around waiting. Only the editing room serves as sanctuary. It is here that some semblance of order and tranquility resides. The camera pans the studio, with its by-now well established attention to detail. But it to is drawn to the outside world... the chaos, the confusion, the overwhelmingly massiveness. Light shifts dramatically, and through the window we glimpse a final image of this industrio-mechanical age the filmmaker so readily fears and transforms. – Roger Nieboer