Noah Angell is a filmmaker who takes sections of pre-existing films, and subjects them to a process of re-editing and manipulation. Small sections usually taken from a single film are transformed through systems of repetition and revision with the addition of speech or text from yet other sources. They are short intensifications of the film experience, which repeat, double and reflect the text and images of the original.

Cut-up and re-editing techniques can be applied to expose the underling power play within various languages, revealing the true nature of obscured authority.   Syntax and grammar, port more than the mundane meaning of a piece, and when these are disrupted and re-aligned, new contradictory voices appear. Angell extends editing to demonstrate the way unconnected meanings can be carried simultaneously. This is partly a process of deconstruction, and partly a new creative procedure. The work introduces subtle layers that disclose the structure and possibility of Revelation per say.  

In Sura 20, Ta Ha , God asks Moses what he has in his hand. It is his staff, which he uses to lean on and to clear the way for his people. God tells him to throw it down, where upon the staff is transformed into a serpent. He is then instructed to pick up the serpent which then turns back into his staff. We are brought into this liaison between two spheres, the one political and cultural of the source films, and the other tending towards spiritual matters in the re-edit.  

Physical absence, death, and the violent basis of life, are reoccurring themes in his short films. These experiences are the most profoundly effecting encounters and are most likely to cause us to radically change our outlook. What are evoked are those experiences that call to mind ones own mortality or the mutability of our everyday world.

Without hinting at his own beliefs, Angell exposes the metaphors at work within culture by illuminating their distant actions.