In their capitulating meekness, ruins maintain a dignified & all-inviting hospitality. Go in, because the formal fortress of no-trespass interdictions has been pulled down. A cordial truce between inside and out- reigns. Ruins pertain to an elastic ownership, crusaded by vague curiosities or windstorm Bacchanalias. Public museums of decrepitude, they stop arresting steps with the intimidating veto "private property".
A film that seems to rise from the beggings of civilization crafted through its ruins and traces. That sequence where the ghost train passes purely because of the use that montage makes of the wind, of the twist and turns, of the desolated nature and human constructions is a miracle.
Letters and documents are read aloud sometimes with somewhat applicable images of buildings and structures in various modes of decay. The significance of the choices in literature and image are better known to the filmmaker than the viewer with connection being remote and hard to discern. Images are well shot and visually arresting but the film becomes tedious and uninvolving before long. At least its only 60 min,
The film asks from the start the question of religion's function in preservation and contrasts with family or other ways of social organisation. It shows how social ideas are likelly to keep changing against the volatability of humankind while only a religious believe keeps preservation. The imagery of the different locations has the beauty of the decay and a disturbing nostalgic feeling and mood of the past.
A powerful, haunting meditation on modern ruins, debris of recent lives and events. The modern landscape recalls a new Pompeii. Particularly intense are the verbal passages, especially at the end the images of the sanatorium and the basic data of some of its patients. This is a film to watch over and over again.