Stories can overlap and overlap. This provides the material for stories, myths, and builds the intensity of places, real or fictional. For Brent Chesanek, it begins with the skulls, present in the same area, of two Powells, who are complete opposites but whose paths cross for the film in a reimagined village. One, Lewis Powell, a pro-slavery assassin, conspired under a series of pseudonyms to overthrow the American government in 1865, in order to preserve institutional slavery after the defeat of the South. The other Powell, named Bill, a famous anti-colonial Seminole rebel, abandoned his Western name and fought the settlers under the name Osceola in the 1830s, while the indigenous populations were being displaced from newly acquired Florida. Crossing threads and stories, Brent Chesanek takes us into a land inhabited by ghosts. Heteronymous play and sliding draw a history and a geography in this territory that thickens and gains a whole new density. Crossing the humidity of the Florida landscapes, by day or between dog and wolf, the gaze is transformed by the collage and stratification of stories and voices, including that of an unexpected and metamorphosed Marco Polo, inscribed here as a matrix gesture of travel stories. Brent Chesanek thus reconstructs this piece of land according to the codes of explorers. This judicious detour allows the village to become the archetype of a broader American identity. The stacking and weaving draw a national history of white supremacy and European colonialism, foundations of the United States national narrative that remain strongly rooted to this day.