Over the course of four compositions Vanity Productions unfolds narratives of inner quest and exercises in futility. Grandiose, bleak and obliterate, like a seascape painting by Gerhart Richter "The Last Picture Show", yet sonically rich and vivid, Stadsgaard creates an erratic, unpredictable milieu. Peter Bogdanovich's film, Ryu Murakami's short story and Stadsgaard's sonic experimentations not only share a common name, but merge into a polylogue of voices telling the tales of scorching solitude, unfulfilled desires, filth, and wasted love. Men and women living a world of the obscene embody the unspoken solitude arousing desire that can never be satiated. What they look for stays ever under the veil of mystery, whether it's a pool hall or an arcade in Texas, a neigbourhood in Tokyo brimming with callgirls and dealers or a sauna club in Copenhagen. Brief encounters linger and fade like a humble candlelight in the dark room. The beauty of it is in the futility of the search, chasing fulfilments in a deserted void, watching the suburban dreams slide out of view. "The Last Picture Show" is one of those nights when one can hope to resurface the next day as something bigger and better, a thought that is necessary to go on and a message that what those people are looking for is not forever lost and about to come back.