CINEOS Premiere

Killer of Sheep

A slaughterhouse worker moves through the ordinary days of his life in Watts, too tired to feel much of anything — and the film finds the whole weight of a life in that numbness.

It flows like memory rather than plot, letting vignettes accumulate a mood instead of a story. The man rarely names what he feels, so you assemble his exhaustion from stillness and averted eyes, and the film never editorialises. It builds toward no release — the valve is quietly closed — and simply stops, because stopping is the only honest ending available. You carry his tiredness out as a physical dullness, and images like children tumbling off a wall resurface days later on their own.