This first true Czech avant-garde film turns away from a purely celebratory approach to the city. The camera follows a detached protagonist on his wanderings, as his highly subjective journey becomes a fragmented visualization of urban landscapes.
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Alexander Hammid exhibits a very stylized and thoughtful eye in his composition and use of contrast. Yet unlike Vertov or Ruttmann or even Eisenstein, Alexander Hammid's images don't seem to evoke much for the viewer's intellect to do--even considering the rubric of avant-garde. His influence on cinema imagery became very strong for good reason.
True to the spirit of modernism this short avant-garde film traverses the trail from the speed of urbanity to the lyricism of nature, told through the indifferent perspective of a modern and blasé flâneur. It may lack the explosive supernova of an Alexandrov or the dizzying rhythm of a Ruttmann but it's pleasing to the eye as an exercise in the aporias of a mature and fragmented modernity.
Captures something of the ambiance of Prague, if not its essence. As unanchored to a stable sense of place as the title suggests, this is a melancholy amble through space. The influence of Poetism/ Devětsil is clear in the emphasis upon sensory impressions. I respect how the film tries to exceed the limitations of vision. Turn this into a VR game, please.