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Nathan Silver’s Stinking Heaven, released last year, concerned a small community of like-minded people living in close quarters with one another, and dramatically reenacting their lowest, screamingest, most pathetic moments for a video camera similar to the one the film was shot on, for nominally therapeutic purposes. The parallels to a film set—in particular a set for a film predicated on improvisation and its potential for vivid revelations, perhaps achieved at the cost of...