I have often been asked how I got interested in Slow Cinema, how I was able to distinguish slow films from other arthouse films. I have often been asked if there wasn’t a better term. My responses have changed over time. I have to admit that I could never respond intellectually. What defined my experience with Slow Cinema was, above all, spiritual. Or something like that. In my first book, Human Condition(s) – An aesthetic of cinematic slowness (2021), I . . .