In 1996 filmmaker Andrew Filippone Jr. set out to direct his first movie, a fanciful narrative short called “Happy Monday, Mr. Krebs.” But being too inexperienced and immature for the job, he failed, shooting an un-editable film and wasting the work of more than 30 cast and crew. For ten years the 6,400 feet of 16mm negative from this lost project sat on a shelf, untouched and unconsidered. In 2006 Filippone - now a documentarian - returned to the material and looked at it anew, hoping to remedy his earlier failure. What resonated with him now was not the film’s fictional story - how a mid-level corporate functionary named Monroe Krebs escapes his dreary bureaucratic life - but instead the true story of the failed production itself, the unrealized idea at its center, and his own culpability as the director. That then became Filippone’s subject, and the documentary that’s resulted from this second look, “Happy Monday,” is both radical and remarkable. Moving far beyond conventional documentary form and presentation, “Happy Monday” tells its story of naive ambition and undisguised failure by recasting the actual film negative of the decade-old short into a tangible, physical object. Cut and arranged into a vague human shape, the 16mm negative lies prone on a lighted surface, vulnerable and exposed, static and perpetual. As audiences linger over the lifeless form and read the frozen moments entombed within its frames, an impressionistic soundtrack of dialogue fragments and production sounds from the original Nagra reels fill the room. Cut free from the screen, “Happy Monday” is a documentary that externalizes its meaning and message and forwards a striking new formal language for non-fiction film.