Hamlet Back to homepage

LOOPHOLE, 2023
16:9, 24’ 39’’

LOOPHOLE revolves around the affair between defense attorney Ray and juror Lisa. Between manipulative cross-examinations of witness Sarah and alleged victim Holly, their clandestine relationship constitutes the eponymous “loophole,” casting doubt on the credibility of the trial. Strafer mixes romantically charged scenes with intense courtroom interrogations, using artificially rhythmic dialogue, fixed gazes, and close-ups to create an atmosphere that is both intimate and threatening. Props, makeup, and costumes function as exaggerated stylistic devices as well as direct references to the real case. These include the blue suit worn by the character The Pen, modeled after Strafer’s mother’s outfit, and the piece of toilet paper on a cut on the defendant’s neck. Here, Strafer grounds the work in real details while deliberately directing the viewer’s perception toward the grotesque and speculative. At the same time, she examines the politics of visibility in televised trials: some characters are seemingly protected by a blur, while others use the witness stand as a stage for performative selfexpression.

DECADENCE, 2024
16:9, 20’ 25’’

DECADENCE is set on the Kennedy Estate in Palm Beach, after the defendant’s acquittal, and links the exuberant celebration following the trial victory with a flashback to the night of the alleged rape at the same location. Despite Ray’s initial triumphant speech and the extravagant party afterwards, the atmosphere remains uncomfortable. Once again, Strafer mixes cinematic elements with sequences typical of reality TV: vivid colors, gradual zooms, slow motion, and close-ups evoke the style of Hollywood thrillers, while rough amateurlike footage and hints of television clichés disrupt the build-up of suspense. In both the portrayal of female characters like The Pen and Lisa and in the exchanges among the male characters, casual sexism surfaces, laying bare the patriarchal structures underpinning the case. The presence of juror Lisa and other parties involved in the trial casts further doubt on the verdict and highlights the immunity of the wealthy and privileged.

Text from the booklet of Jordan Strafer’s current exhibition DISSONANCE (until 3.12.2025) at Fluentum, Berlin.

Photos by Tereza Glazova
With great support by Kanton Zürich Fachstelle Kultur, Stadt Zürich Kultur