Although beautiful, it's a film that raises me questions about its structure's relevance. If, on one hand, the Günther Anders text is absolutely extraordinary in its levels of perception, the images, in turn, seem to be too "external" to the film, suggesting being more a "filler" rather than a fill. For example, the machine that generates the camera movements around its axis, so exciting in Snow's films but not here.
the first part is like a stenogram from romania's recent past. we had our burru - communism and our ORs replaced by mandatory ANDs. yet, looking back, it looks so picaresque, so one-foot-here-one-foot-nowhere, with its strange lynchian dream sophistics, with its systematic randomness of horror, that it is easier to forget, than to remember.