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Ascher’s body of work pays patient, open-minded attention to eccentrics harboring unusual obsessions, whether that’s with the phenomenon of sleep paralysis (as in his film The Nightmare) or the myriad secrets hiding within Stanley Kubrick’s adaptation of The Shining (as in his breakout Room 237). His latest feature takes an all-angles look at the burgeoning culture of “simulation theory” and its adherents, people who believe that the reality we all take for granted is nothing more than a projection the puny human brain perceives as truth. For such a necessarily mind-bending topic, Ascher embraced animation to an extent previously unseen in his filmography, rendering the experiences recounted as uncanny abstractions in a dreamworld of digital artifice. It wasn’t long before he realized that the same technique could be applied to enliven the otherwise inert footage he’d gotten from his many online one-on-ones. It’s an inspired maneuver, both an apt formal rhyme with the

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