Nice Deleuzian shifts. This seems to be about fear, but it is not. It´s about human love, which returns to a strange foundation, that is, the categorial differences between nature, human beings, animated and not animated beings are dissolved. Only the care for specific human beings remains.
If the people in charge of the film were doing theatre, would they be able to pull off physically poking viewers in the eye? Because that's what it felt like. Provoking, beautiful, anxiety- and seizure-inducing. Did it really go beyond the manipulation with the imagery, to reveal a larger truth? Not sure.
What the hell is wrong with experimental filmmakers? Do they always have to have pulsating lights? Like I said before I don't know if I'm epileptic, but I sure as hell don't want to find out the hard way. I would estimate that of all the experimental films I've seen here, or tried to see, about 20-30% have the damn flashing lights.
It is a pity, but I believe many folks hold the notion that "all is one" to be trite hippie bullshit, rather than the absolutely central spiritual principle it in fact is; I do have to concede that in WISHING WELL Schedelbauer takes the Ken Jacobs strobe technique and goes so far and so ravishment-compelled w/ it that I did indeed flash on memories of doing psychedelic drugs in the woods. Ah, ecstasy of dissolution.
Un movimiento incesante que va de adentro hacia afuera, capas de imágenes que se van pisando una a una, un bosque encantado de mil colores y texturas cambiantes, el sonido de un hojas crujientes: el juego de la memoria interpretado en su pico máximo de acción, marea de sensaciones que sacuden apenas el recuerdo se activa. Montaje mental antes que de acción, evocación que parpadea en loop variante, hacia lo profundo.