Peter Tscherkassky’s latest epic is a sly comedy that mines the relationship between early cinema and the avant-garde by way of advertising.

A breathtaking formal collage that adopts myriad material techniques, this 24-minute wonder forges a playful bond between early cinema and 1950s advertising. Structurally audacious and rhythmically hypnotic, Coming Attractions serves up a wry commentary on the very essence of cinematic language.