A young couple finds an oasis of warmth and love in the back of a taxi as an omnist—a person who believes in all faiths or creeds—ferries them through the chaos of New York City.

Over the stereo, a preacher sermonizes and gives thanks to god as the camera pans in a full circle, disclosure a pocket-sized image of the Sacred Heart of Jesus pinned to the windscreen and a dashboard figurine of the Madonna and Child.

As the couple continues to kiss, blissfully unaware of their surroundings, evening light streams through the rear windscreen, filtered by stickers of the Om symbol and the Buddhist swastika. 

On Near Yonder, from director Laurie Bartley: These stories traverse themes of time, dream states, afterlife, healing, and consciousness. I was particularly driven by phenomena that were once entirely mystical and deemed hocus-pocus but are now being reconsidered and analyzed by a growing number of those within the scientific establishment; phenomena such as the survival of consciousness after bodily death, reincarnation, and near-death experiences.