Maria von Hausswolff’s “Evidence of the Not Yet Known” takes place in an architectural landmark, Rudolph Schindler’s Fitzpatrick Leland House (1936). Posited as a distant memory from the house’s fictional past, the film references Hollywood clichés alongside glimpses into a world of secret scandals such as suicides, love affairs, murders and accidents. Scenes are frozen in silhouette, exposed through dramatic shadows as light moves around the building. The roving light accentuates the role architecture plays in constructing narrative and creates a dreamlike effect.