A girl and boy on separate sides of the world (NY & Amsterdam) both lead fantastical lives but are incapable of meeting. The film is loosely based on a Wile E. Coyote and Roadrunner sketch where Wile E. paints a tunnel on a rock that the Roadrunner passes through. It's made using my own technique of projecting onto paper and then cutting out portions of the film to illustrate the hyperreal mediums that skew our vision. The characters exist in their own hyperreal worlds, oblivious to the fact that their surroundings are merely fictionalised. Yet they still doggedly try to meet, to break away from their 'painted tunnels'. Wile E. serves as a deconstruction of hyperreal drama in a cinematic format. Numerous tropes of the cinematic language that usually goes unquestioned are identified and made as visible as possible whilst still retaining an engaging veneer. The edges of the screen become observable, the screen floats within it’s own frame of reference. Music and image are separated from speech to distinguish which one does what. The music itself is cheaply manipulative and the 3 part basic structure of introduction, disagreement and conclusion is strikingly clear. Even the narrative itself is an absurdist exploitation of elementary hyperreal filmmaking. Yet even when everything is visually and aurally laid on a platter, the audience will fight to ignore something they cannot compute and will instead settle on engaging with the basic premise that it’s just a film.