Using found footage from commercials showing mainly women’s legs and cars, a tangled network of movements is woven, broken out of the found footage, and compiled anew. Discharged from all its semantic burden, what remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction.

A playful interrogation of the very materiality of celluloid, Peter Tscherkassky’s Manufraktur explores the tension between an image and the film on which its captured. The avant-garde filmmaker’s architectural fascination stands out from the film’s temporal, sonic, and material manipulations.