Some context might help. Between 1988 and 1997 the Baltimore-based filmmaker Rob Tregenza directed three features that amassed a small, enviable group of admirers. If it's one thing to secure bookings at arthouses and galleries, it's quite another for your debut film to be anointed some groundbreaking moment in American movies by Jonathan Rosenbaum and

I was very gratified by the response to last year's interview with Rob Tregenza, a Zelig-like figure of modern cinema. Our very long, multi-Zoom conversation covered a life in film: four features, cherished experiences with Jean-Luc Godard, and hopes he hadn't reached the end. What I didn't quite find time for was, and I am