‘Portholes are charming: you see & stay unseen; peepholes to sea’s alcoves, a guarded clash with the salty monster, an antic on the adverse liquid elements. Immensity has to be approached through them.’ Before the oillets of my vision’s black box, the immense motion here can decompose in mediocre stills; its agile snake skeleton reveals itself only when kept compact and running. The stream is seam between the shots.♥
beyond every frame there is an endless universe. cinema as sculpting in Time. cinema as sculpting the Movement. (hi, ravi :D ) this film is like a possibility of the Film. questioning cinema by its own tools. could be the fastest and the slowest film ever. probably both, and that's why it's brilliant. (for ernie gehr and für thomas mann)
A sort of companion piece to the short on 'communication' this is another venture to the post-histoire view of human society under the spectre of an ominpresent will-to-speed. Reitz's camera makes some 360 degree dizzying moves and captures the fleeting perception of life in its everyday but also historical texture with a neutrality appropriate to technological Reason. The percussion soundscape completes the journey.