Train is an enigmatic short experimental film exploring mimicry and communication through ritualistic deadpan absurdity. The film depicts an artist embodying the different systems of activity when a train passes through a station. The artist in the film wordlessly renders physical the audience’s conception of a train. The result parallels the modern commuting ritual and primitive ceremony. The artist acts out the eponymous train, but underneath the surface layer of imitation lies an element of derision. Derisive of whom, is the question. Is the artist mocking the audience’s tolerance for contemporary art by spending three minutes repetitively acting out a simple idea? Or is the artist parodying himself by reducing the sacred artistic concept to a superficial game of charades?