The outrageous carnivalesque of free association is unleashed in The UnWoods, where experimental forms and shapes meet each other in their respective landscapes, combining to have a narrative moment together. Loosely based on the Kolkhoz frame sequence of Old and New, and by using Sergei M. Eisenstein’s film theory of combating hegemonic structures, the filmmaker uses eccentric combinations in this new sequence to construct a free and accepting diversity of movement, image, conflict, and even intimacy, satirizing the notion that there can be any ownership or authorship of reality. The UnWoods was created with handmade and digital techniques, using both mass-produced and original materials.