Werner Nekes filmed a Finnish landscape from a fixed point of view and just panned steady and slow around. What becomes of these experimental shots is a wonderful, universal, gigantic wall of pictures.
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From Caspar David Friedrich expressionism to the abstract painting of Gerhard Richter, according to a mechanics of shooting and editing that calls to mind some experiences by Michael Snow, there is in this amazing moment of cinematic kinesthetic a memorial of the German pictorial art transfigured by the perceptiveness of a cinema figuratively independent from classical diegesis.