In the internet age we have the means to make Vivan Maier's photographs and materials available to everyone, preserved and displayed, away from the necromantic urges of capital accumulation at the expense of a dead artist.

In WILLY'S WONDERLAND, we are confronted with two nightmares: being trapped in a children’s entertainment venue inhabited by haunted animatronic characters; and the torment of living as hostages, held captive by capital. The film’s strength lies in its ability to convey us from the first of these horrors to the second.