One of the defining characteristics of Slow Cinema is that quite a number of films, in particular experimental films, question the difference between photography and cinema. Static art and moving image art interact and create a certain pull that only those films (can) have. At the beginning of 24 Frames, Abbas Kiarostami notes: "I always wonder to what extent the artist aims to depict the reality of a scene. Painters capture only one frame of reality and nothing before or after it."
Moving images have helped make recorded life more realistic. I believe that . . .