When Annette Ontell died at the age of 93, she left behind 71 years worth of objects in her home: clothes, tax records, rubber bands overflowing out of desk drawers. In their grief, her doting grandchildren — Elan and Jonathan — decided not to discard her possessions, but to gather them together and investigate them for meaning, in the hope that the objects would begin to speak to them about her life.

And so her home at 306 Hollywood has transformed into 306 Hollywood. Mirroring Annette’s collection of disparate bric-a-brac, the film is a rollicking assemblage of documentary footage and re-enactments, miniatures, fantasy and reality, and interviews with a plethora of commentators, including an archeologist, a physicist, a fashion conservator, and a director of archives. But the greatest element in the film is the force that binds it together, Annette herself. Appearing in documentary footage shot by her grandchildren, she is simultaneously vivacious, sentimental, and candid. In gathering her objects together, Elan and Jonathan Bogarín have created an object of their own, one which resounds with love.

“Witness the shrine of seven Band-Aid tins; six filled with coins and only one actually containing bandages. Join a fashion conservator as she examines Annette’s designer dresses, documenting each stain and tear like it’s a medical autopsy. Slowly, a picture forms, not only of Annette’s possessions, but also the emotional value they held for her.” – J.R. Kinnard, PopMatters