Donovan Vim Crony’s 8-minute film “Noise Gate” entangles African mysticism with Matrix-inspired science fiction. The film is evocative of Sun Ra’s revolutionary 1974 film “Space Is The Place;” both belong to the poetically political Afrofuturism movement, which also claims artist Jean-Michel Basquiat and photographer Renée Cox among its ranks. The film is intermittently delicate, verging on shattering, and jarring. It is sonically abrasive, slow-bubbling and suddenly boiling. Like the strange experimental jazz that forms its soundtrack, “Noise Gate” creates escalations and landscapes that lead to a sense of total dislocation. It can function beautifully as a political statement on the surreal displacement of black people in society, or as an apolitical art-piece, which is a testament to its power and subtlety. In the opening, the protagonist proclaims that “the Noise Gate is a decision.” If the decision is to watch, “Noise Gate.” is indeed a wise choice.