Jonah Freeman, The Franklin Abraham, 2003

Rather than opt for a documentary style, cinema techniques that are peculiar to fiction are employed (theatrical lighting, staged dramatic situations and pop music) to offer a specific definition of a given environment.
In his film “The Franklin Abraham” (2003), Freeman presents an urban metaphor at the heart of single structure, a building complex that developed over more than two hundred years and became completely hybrid. There is just one catch this is a fictional creation, not a real place at all.
The film that has come out of this project offers us a subjective view of the failings of society today. The film’s structure is modeled on the open-ended nature of the building; the camera wanders down endless hallways and through a range of encounters gives us a voyeuristic yet indifferent perspective on a community stamped by capitalism.
Viewers discover in this micro-town, for example, fragments of the intimate reality of a disillusioned teenage girl, a shy female civil servant meeting with a cynical Don Juan, or a gang squatting the underground floors of a building.