BULLETS FOR BREAKFAST is a sublime essay film which sits at the frontier of its genre. Holly Fisher describes the film as “a Western filtered through a post-feminist sensibility”. Moments from John Ford’s classic 1946 Western MY DARLING CLEMENTINE are repeatedly interwoven with art postcards depicting Renaissance paintings of women, footage of women working in a herring smoking house and landscapes of Maine. Ryerson Johnson, a 91 year old writer who wrote more than 200 cowboy stories for pulp Western magazines reads from his unpublished autobiography. Feminist Nancy Nielson, who lined the interior of her outhouse with art postcards, reads her poetry. By playing with differences between poetry, story telling and visual narrative, BULLETS FOR BREAKFAST gradually unravels the seductive power of collective myths and stereotypes. It’s a blatant hybrid of experimental and documentary techniques. Stories are told and re-told, images reordered like musical motives, in a structure which is cyclic and open-ended.