talking clichés: imagine sans soleil, replace the french poetic sense for the german over-analytical mania. not only parallelstrasse is also an assembly of "travelogues", but several of the themes are shared by the two films. nevertheless, the tone of Ferdinand Fhittl lacks the harmony and unity of chris marker's film, released around 20 years after.
like Kafka and Borges, the film, methodically yet poetically, challenges and expands incrementally. it's a concerted movement with a clear destination, but in the end it collapses under the weight of the impossibility of its scope, but maybe that's the point?
A group - stand-ins for the fragmented viewer - is compelled to make sense of all contemporary global existence in its spiky multifariousness by a hidden Kafkaesque authority, and are confronted with documents which with Hölderlin find terrible and beautiful gods in all things...This metaphysical thriller is in equal parts irritatingly obscure, terrifying & hilarious but utterly cinematic throughout.