Biermann's work explores digital art's possibilities for avant-garde film. As many filmmakers devoted to the avant-garde hold onto 16mm as its only true medium, Biermann embraces digital technology's "capacity to alter, mask, fragment, re-mix, super-impose, mutate, reflect, transmit and reframe" (from artist's statement). With "The Hills Are Alive" BIermann takes an iconic scene from the 1965 Hollywood musical and reveals another take on the tenderness of this Rodgers and Hammerstein song, deconstructing it down to its smallest components, repeating its moments and reinscribing its music into something completely different.