Pryor’s soundtrack uses a soundscape by Neal Ager as well as the poet’s own reading, which it sounds more “foreign” and thus better suited to a poem in the moon’s voice. None of the filmmakers managed to avoid using footage of the moon, though Ersolmaz came the closest by turning her moon into a screen for other, earthly footage. And the way Pryor made an almost Wizard of Oz-like switch from pale, seemingly moonlight images to saturated colors, extending her film into a wordless montage that serves to expand the poem outwards, suggesting possible connections between artificial light and nighttime violence.
