This experimental feature directed by local filmmaker Mike Gibisser is a lot of things at once: an endearing documentary portrait of his aged grandmother; a lyrical essay on mankind’s relation to time, space, and motion; a Lumiere-esque travelogue smitten with the appeal of tourist attractions. It takes its name from the so-called day of two noons—November 18, 1883, when American railroad companies adopted standardized North American time zones—although it isn’t explicitly about it; instead it’s a deft dissection of the cinematic image versus the photographic image, and the temporal distinctions between the two. Indeed, Gibisser employs a lot of shifting pieces, but his seemingly erratic fragments combine to form a vibrant whole.