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Century of Smoke – Nicolas Graux (2019)

There is one aspect of my work in the field of Slow Cinema, which I like more than anything else: the opportunity to travel the world via the eyes of filmmakers who listen to marginalised people around the globe. For the first time in ten years writing on the subject, I have been taking a trip to Laos, a country perhaps no one really knows much about. Perhaps the capital, at most. But when it comes to life in Laos, a small country in south-east Asia, with almost seven million inhabitants, we know nothing. Nicolas Graux has travelled there to use film as a means to tell the story of Laosan, a young man, married with two children, who is addicted to opium.

This addiction doesn’t come from nowhere. On the contrary. As Laosan tells us in the second half of the film, the family grows the highly profitable plant. The plantations in themselves don’t cause the people to get addicted, but a lot of men in this Akha society are. Laosan’s parents, he tells us, became addicted after the death of his brother. They didn’t know how to handle their grief. Opium became a relief and his father, in particular, is seen smoking time and again throughout the film. This is only part of the story, however. The core of Graux’s film focuses on Laosan himself and the ways in which his opium addiction affects not only his own life but also that of the people around him.

Graux uses breathtaking long-takes in order to situate us in the milieu the Ahka are living in. Tight, almost suffocating close-ups are replaced with wide open shots of the jungle, low-hanging clouds moving along the horizon. Laosan is a heavy smoker, he tells us. As soon as withdrawal effects are setting in, he needs to tackle them by smoking again and, more importantly, smoking more. We see him preparing the drug, we see him inhaling and exhaling. We see the smoke that leaves his mouth and his nostrils. The repeated shift between close-ups and long shots resembles Laosan’s smoking process; the film inhales and exhales. The low-hanging clouds become a mirror for the opium smoke that infests a substantial number of Graux’s frames.

But the film is not only an aesthetically pleasing, visually stunning piece. Graux lays open the problems of opium addiction in society. Laosan is an absent husband and father. He doesn’t know what to do with his life. He has lost all energy, all perspective for the future. He is almost lethargic. His parents, especially his father, urge him to move away from the region and to build a new life somewhere else, to a region that had something to offer. Laosan’s father reiterates time and again that the region had nothing more to offer, and that his son needs to make a move fast. The dialogue between parents and son, shot in an extensive long-take, is ironic in some ways. The father, himself addicted to opium, scolds his son for losing all interest in making something out of his life. It is clear that the problem is the opium, and yet the father doesn’t mention it. Opium – the elephant in the room.

Most heart-breaking is a sequence that focuses on the women in the village. It is they who suffer the most. They speak of their horror witnessing the drastic change in their husbands. They speak of their fears of being beaten because opium makes their husbands violent. They speak of wanting to leave their miserable lives behind, of going to China, of looking for a new man, a new job. Laosan’s wife even speaks of suicide because she can no longer live this life. It’s her children who hold her back. Who would look after them? she wonders. Her plan is to move away as soon as her children are old enough. Until then, she will be locked into a tiring fight against this disease, this addiction that has changed the face of the region.

But perhaps there is hope. Laosan tells us that the Laotian government seeks to prohibit the growth of opium. The young man, marked by over a year of addiction, is hoping for this change, giving him the chance to finally come off it. For Laosan, being surrounded by opium is counterproductive to any attempt at freeing himself from those chains. He hopes for the government, for the prohibition of opium in the country, in order to get clean. It is, perhaps, the desire of a vast number of people. Laosan is only one of many. Graux allows him to tell his story and his camera is a patient observer, which stylistically also reiterates the idea of lethargy. Cinematic slowness becomes an expression of each and every lethargic day spent in the mountains and hoping for better days to come.

I couldn’t help but think of Apichatpong Weerasethakul several times while watching Graux’s film. There is a degree of similarity between Weerasethakul’s Tropical Malady and Century of Smoke. Is it the location? The aesthetics? The way of observation? I haven’t found the answer yet, but regardless, Graux walks in the steps of big-name slow-film directors. With Century of Smoke he has arrived at the very heart of Slow Cinema, and he sits comfortably amongst Weerasethakul, Lisandro Alonso and Tsai Ming-liang.

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Happy 10th Slow Cinema anniversary

This year marks a special anniversary for me. Ten years ago in summer, I watched my first slow film. It was Béla Tarr’s The Man from London (2007), a stunning feast, which blew my mind. I kept looking at my watch not because I was bored, but because I wanted to see just how long this first take would last. Quite remarkable that it has been a decade already. Since The Man from London, which, I later found out, was based on a book by Georges Simenon, I have seen hundreds of slow films. Not all of them have made it onto my blog, for lack of time, or frankly for a lack of space because I started my blog only three years after my first slow-film experience.

Béla Tarr, Lav Diaz, Pedro Costa, Tsai Ming-liang – these were the big names when I started. I came comparatively late to the oeuvre of Pedro Costa, and I still need to catch up with all of his films. But overall, those four directors used to be the core of what was considered to be Slow Cinema at the time. There were others, of course. Abbas Kiarostami, or Theo Angelopoulos. Chantal Akerman was always a bit on the side, because she was the only woman director talked about. Slow Cinema certainly was a male field. The term was coined by a man, the directors were almost exclusively male, and whenever I did see a slow film in cinema or went to a conference, I felt rather strange as being one of only a handful of women. In fact, my work on Slow Cinema has made me become utterly aware of my being a woman, especially when my book proposal was rejected with the reason of the subject not fitting into the publisher’s portfolio, only for them to accept a book on the same subject by a man.

But apart from having me made aware of who I am and where I come from, Slow Cinema had for me something exciting about it. Why? Because it was a sort of genre, or movement, that I more or less grew into. Slow films, or slower-than-the-usual films have always existed, yet it became “a thing” only in the 2010s, once Jonathan Romney published his Sight & Sound piece about the increase of cinematic slowness in films. It felt as though I was witnessing something in-the-making. I still remember the first festival dedicated to slow films. The AV festival in the UK dedicated a whole weekend to Slow Cinema, with a mini retrospective of Lav Diaz’s films. This was where I saw my first ultra-long film, which much later became my main interest because the length not only created an entirely new film experience for me. It also allowed me to see films in a different way, not just as a purely horizontal narrative, but as something that can take its time to get to the bottom of things.

When I did my Phd from 2012 to 2015, debates about and around Slow Cinema tended to become heated. On the one hand, you had devoted followers. On the other, there were people who hated Slow Cinema and they were the ones who advocated the idea of boredom in the context of slowness. “I’m not going to the cinema to get bored.” The debate on Slow Cinema highlighted what most people expect of cinema to be: a form of entertainment that is used to numb problems, pain, concerns – if only for two hours. I believe that the rejection of slow films not only stems from its rejection as a form of entertainment. It is the rejection to see, a rejection of our human condition.

Slow Cinema also showed the nasty business of film criticism, with certain critics leaving the auditorium early and then ripped a film into pieces (which you can’t do with slow films until you have seen the whole film), and with critics who haven’t even seen a certain film they were reviewing. There were books hastily published, which didn’t even try to understand the movement as something that goes beyond a rejection of modernity’s speed. All of a sudden, those who never bothered with the field had a chapter published. If you wanted to be on top of things as a film scholar, you had to join the band waggon.

I believe that Slow Cinema has given me an insight into more than I had bargained for. In the end, the heated discussion died down as quickly as it had begun. Paul Schrader announced the death of Slow Cinema not so long ago. This shows nothing else than his lack of understanding of the genre. It may well look as though Slow Cinema is in decline. Béla Tarr and Tsai Ming-liang have retired. Chantal Akerman, Theo Angelopoulos, Abbas Kiarostami have died. The written output is decreasing.

If one wasn’t actively involved with it almost daily, one could easily agree with Schrader. But this would be a mistake. With the rush over slowness coming to an end (yes, this joke is totally intentional), Slow Cinema can finally be. Maybe directors can soon even do Q&As without being asked the age-old question as to why their films are so slow. They can just talk about the content of their films. Now is the time when some quality writing, some quality analysis can emerge from the silence and the stillness that is slowly beginning to wrap around slow films. It’s no longer about making a quick comment on something that is at odds with our modern times. It is about feeling it, and putting it into perspective.

And we will have ample time to do this, as Slow Cinema is everything but dead. Wang Bing has become one of the most prolific directors in recent years. Nikolaus Geyrhalter continues to investigate the world. Shengze Zhu has just won the Tiger Award in Rotterdam. Jacqueline Zünd seems to become a new female force in Slow Cinema. Apichatpong Weerasethakul is treading new grounds in Colombia. Aleksandra Niemczyk is probably one of the most promising new talents. Michela Occhipinti has premiered her new film at the Berlinale. Bi Gan is making himself a name in the field.

The future couldn’t be brighter, precisely because the public debate has died down. While others declare Slow Cinema dead, I personally am convinced that we are entering a new promising phase, which could even become a sort of golden age for slow films. Let’s see what there is to write for me in 2029!

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Kaili Blues – Bi Gan (2015)

It is impossible to retain a past thought, to seize a future thought, and even to hold onto a present thought.

There couldn’t be a better beginning to a film than this extract of the Diamond Sutra, the most important sutra in Buddhism. It says so much about the reasons for our suffering. Do we not always try to project ourselves into the future? Are we not always haunted by past thoughts? And what about those wonderful present moments, which we would like to hold onto? There is a constant tension because of our attempts of controlling what is beyond our control.

And yet, this extract of the Diamond Sutra is not only there to make us aware of this curious state of eternal suffering. Chinese director Bi Gan also makes a statement about his film Kaili Blues, his debut feature, and, perhaps, about cinema in general. Especially the inability to hold on to a present thought… it has often been said that photography and film can capture the present moment. Indeed, so they do. Yet as soon as the present has been captured, it becomes part of the past. What is, has been. Bi Gan’s non-linear moving images (I wouldn’t call it a film just now) are a fascinating example of Daniel Frampton’s filmmind. His images are free floating, The film moves to wherever it wants to move. Past, present, future – it all seems to be one. The director’s forty-minute long-take in the second half of the film shows exactly this; the act of floating, floating memories, floating thoughts. We travel by motorcycle, by car. We follow this character, then another, all the while (re)discovering places and scenes that we remember from earlier.

Time has no meaning in Kaili Blues. Everything is. Temporal orientation is impossible and unnecessary. The film is no more than an invitation to float with the characters. A long circular, counterclockwise camera movement to the left, a long circular clockwise camera movement to the right – the camera becomes an indicator of the nature of time. Time is circular. There is repetition, there is rebirth. Freedom, relief, means breaking out of this circle. But Bi Gan doesn’t allow us to break out.

He holds us with lingering shots that resemble thoughts. He holds us with sounds that feel as though they come from our own mind, from our dreams and desires. He holds us. After twenty minutes, it feels as though we have already spent an eternity with Bi Gan’s characters, characters that draw watches on their wrists. The mechanical clock, the imposed partition of time, as an opponent to the very nature of Kaili Blues, the natural passage of time versus our modern perception of it, our modern desire to control time, to impose our rhythm on something that is beyond control – a marvellous point by the director.

Carefully composed, beautiful frames tell a story of emptiness, of distance. There is something missing. There is an absence that cannot be filled, a chasm that becomes deeper and wider with every scene. The independently moving camera opens up spaces and poses questions. If we try to find responses to our questions, time will wash over us like an overwhelming wave in the sea. We will get lost and have no means to catch up.

The reason for Chen’s imprisonment, the reason for Chen’s apparent adoption at a young age and the ensuing jealousy of his stepbrother, the role of Weiwei, Chen’s nephew – there is so much to explore, so many questions to ask, and not a single answer. Instead, we are shipwrecked, safe and secure on a piece of debris, but at the mercy of the sea, which the director keeps moving just like his camera. Long pans, slow zooms – these create waves that shift us to another place, to another time. And we forget where we are. We’re oblivious. In the end we become melancholic, we get the blues, subdued by somber frames, dull colours, and the endless movement in time without a goal ahead.

Bi Gan is, in his first debut feature, already a master of time, a puppet master who knows exactly what strings to pull and when. He follows the story where it wants to go. The camera becomes a companion along the road. At some point the question arose: have I seen this film already? An obscure feeling of familiarity surrounded me. Bi Gan walks in the steps of Béla Tarr, Andrei Tarkovsky, Tsai Ming-liang, Apichatpong Weerasethakul. It’s a cinematic heritage he picks up and which turns into his own style. Kaili Blues is only the beginning.

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Waiting Time

The end of the year 2018 was, in France at least, a period in which the media focused on the subject of time. The quantity of things published was impressive and made me think about the possible reasons behind this seemingly mutual choice of journalists and podcasters alike. What happened in 2018 that became the trigger for a return to the subject of time and a reminder that time, as we know it, is an artificial construct?

It was, perhaps, Donald Trump and his presidency. In part, at least. An American president, impulsive, tweeting, can quickly take over the news. What I noticed last year is that it felt as though news faster than ever before. One tweet by a politician was enough to create a newsworthy item. Breaking news was the order of the day. Trump, Brexit – you name it. 2018 was characterised by immediacy, heightened by social media and people’s use of it for “news”. I don’t want to write a political post, albeit I could because there is so much to say about last year. Instead, I want to focus on the issue of time today. In an earlier post, I already wrote down my ideas on the theme of waiting, triggered by a blog post on the subject.

Today, I want to go into a bit more detail because I think that if we speak about Slow Cinema, we still don’t speak enough about the subject of time itself. Academics love to explain slow films with Bazin and Deleuze, but this approach has always felt incomplete, or even inadequate to me. It is Sylvain Piron, who, in his magnificent book L’occupation du monde, writes about, what he calls, an artificialisation of every part of society. This, I believe, can also be found in the debate on Slow Cinema. There is no natural conversation about it, but slow films are being explained by artificially constructed frameworks that we have created merely because we humans have to categorise everything in order to keep track of what is happening around us.

Prologue – Béla Tarr

The simple aspect we forget while creating artificial frameworks is that time is an illusion, a question of perspectives rather than a universal truth, as physicist Carlo Rovelli describes it in his new book on time. There is, he suggests, neither space nor time, but instead a continuous progression of processes. Not so long ago, I spoke of Sylviane Agacinski’s thought-provoking book Le passeur du temps, in which she argues that everything is always passing, is in constant transformation. Nothing remains the way you see it right in this very moment. In a second, it’s already different, which, as we may remember from previous readings and discussions, makes it difficult to define what the present moment is, because the present is fragile. If you speak about “the present”, it sounds like a stable temporal entity, but it’s the opposite. What’s present now, is already past in a nano second. So what does this say about time? Rovelli puts forward a pretty good argument. Reality, our reality, is merely a fragment. No one’s reality is the ultimate reality. We create those fragments in order to handle the world. He describes this process, in fact, as a way of blurring of what is around us. In order to contemplate the world as it is, we need to fragment it. We do this, for example, via time, and time is nothing but a marker of our unawareness, of our ignorance.

For Rovelli, time is primarily an emotional and psychological experience, which resonates so strongly with everything I have thought to express on this blog in relation to slow films. From the beginning, I have considered slow films as an experience, rather than as a sort of movement that is defined by frameworks, which tick certain boxes. I have reviewed over 250 films and have seen more without having (yet) written about them. If there is one thing that I have learned, then it is about the necessity of experiencing the films before one poses questions as to what they mean, why they are so slow or so long, and why the director didn’t cut at a specific point. Slow Cinema is, if I take the argument of Rovelli to heart (which I do), the perfect illustration of what time is: an experience, a passing experience, a continuous movement towards something – the end in most cases.

It is, I believe, this experience that we struggle with. In a fast-paced, knee-jerk epoch, are we still capable of truly experiencing something? In order to experience something, this something needs to last, and what actually still lasts? The 21st century, in particular, has cut short everything. Except, that is, for slow films. They last. Their duration allows us to experience, which can be a scary experience. Maybe this is why people say that they are bored. Perhaps they are just scared of letting something happen to them und use boredom as an easy way out. This something – it matters little what it essentially is as it is different for everyone – appears by itself, but one needs to wait for it. We spend so much of our lives waiting, we don’t even realise it anymore. It is so normal to wait for the bus that we no longer notice it as something out of the ordinary. Besides, as Reiner Niehoff and Sven Rücker explain in a three-part podcast series on waiting, everything is being done to make this period of waiting look and feel as though we are not waiting at all. Newspapers and journals in the GP practice, games on mobile phones while waiting for the bus or the metro. We keep ourselves busy all the time, even during periods of waiting.

Almost There – Jacqueline Zünd

Waiting, Niehoff and Rücker say, doesn’t have a quality in and of itself. Its goal is to end the period of waiting. What I found truly thought-provoking, even though it is so simple and easy to recognise that, precisely, I had never thought of it before, is that no one chooses to wait. Waiting is always imposed upon us. We have to endure it and we are at its mercy. This alone tells us why we struggle with waiting. Of course, we like to be in control, and if we are not, it makes us anxious, angry or simply uncomfortable. Whoever it is who makes us wait has power over us, because s/he plunges us into a hole of non-productivity. Remember that time is nothing but a psychological experience? In waiting, we can feel this most strongly.

Do you wait for the director to cut the scene? Do you wait for something to happen? Do you wait for the film to end? The key here is that we perceive a slow film as a form of waiting, and then we say “I don’t have time for this”. Some people might even say that the director shouldn’t steal or waste our time. At the same time, I consider waiting for something to happen in a slow film as the one way of waiting that is not imposed from the outside, but from the inside. Waiting is imposed on ourselves by ourselves, and we project this fear of waiting and our disappointment onto the director, who merely shows a passing experience without any obligations. Because we are, as Rovelli suggested, busy with “blurring” our surrounding, it becomes difficult to accept those films as they are. Instead, we consider them as time experiments, as a “tour de force”. People’s rejection of those films comes from their misconception of what time is, and I think that seeing the subject from a different angle might help them to find their way into the films one day.

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Sneak Peek at The Art(s) of Slow Cinema journal (Issue 1)

It’s slowly coming together, the first print issue of The Art(s) of Slow Cinema. The design is ready (for now), and I have put work on the journal aside for now to allow me some breathing space. If you keep looking at the same thing all the time, you no longer see whether or not something looks good. I want to return to the draft with a fresh pair of eyes by the end of the week and start the final round of proof-reading. This means that we’re getting closer to the day when you can (finally!) pre-order the magazine. And why not give you a sneak peek at what is to come? Let me introduce…. *drumroll*

The wonderful Sebastian Eklund from Sweden, one of the most talented artists I know, has adapted the poster for his new film The Tide Brings the Birds Underwater (streaming for free on tao films) in order for it to fit the cover of the journal. It’s beautiful and expresses everything that Slow Cinema is for me. Obscurity, dreams, mind images, imagination…I cannot thank Sebastian enough for this. I hope it will look just as good in print! 🙂

The journal contains seven articles, responses, and/or creative works. Daniel Fawcett and Clara Pais from The Underground Film Studio contributed their engaging 21 Reflections on Creativity and Cinema in the 21st Century, which takes a look at the meaning of both at a time when digital images are omnipresent. A taster? Here you go: 

The daily work of the artist is to develop a craft. Seek to have the widest possible creative tools available in order to best serve the images that need to materialise through you. Work on cinema and let cinema work on you; artistry and craft are ways of being.

I’m particularly happy that filmmaker and writer Maximilian Le Cain has agreed to write a response to Daniel’s and Clara’s propositions. All three belong to an active group of experimental filmmakers whose output is simply fascinating.  

Watching is as personal and creative as making. This understanding rips the foundations out from under the traditional hierarchical power relations implicit in the producer/consumer dynamic. The question they pose of “how can a film fail when its only goal is to come into existence?” neatly emasculates over a century of puffing and panting efforts to overawe audiences with bigger, better, louder, more Olympian products. 

And we continue with filmmakers speaking about their work and the meaning of cinema, time, and duration. There is Aleksandra Niemczyk, whose breathtaking film Centaur runs on tao films at the moment. Her Thoughts on Centaur are a view behind-the-scenes of making a film that is both personal, and yet universal. A visual beauty which impressed me the first time I saw it. 

In a photo, stillness is pregnant with movement. The photographer brings the stillness, and the viewer must project the movement. In a film, stillness frames a scene, while movement is giving information, telling, bringing emotion. Stillness is observing and giving time to see and breathe the point of the frame. 

What is the link between film and boredom? Why is it that some people get bored by films and others do not? Sebastian Cordes, director of A Place Called Lloyd (available on tao films), investigates the subject of boredom in cinema, merging his experiences as a filmmaker on set of Lloyd and theoretical reading. 

 To know nothing is, precisely, the child’s position. The poet, the philosophers position. This was our position in Bolivia. Anti-journalism. To embrace, to dwell, to plunge into a space for a while. This takes time. As it is said before, boredom is linguistically connected to time as well. Phenomenologically speaking, boredom is the state of being such that one’s time feels lengthened. 

But Slow Cinema is not only about time. It is also about themes that find less exposure in other, more popular films. Their vertical development, i.e. their in-depth exploration of themes as opposed to a horizontal progression of a narrative by all means, allows us to get closer to a burning topic that are the heart of some people’s lives. Caitlin Meredith, the voice behind Her Head In Films podcast, writes about Yulene Olaizola’s Fogo:

 Olaizola’s focus on the mundane also shows how these men are embedded in Fogo Island. We begin to understand why they cannot leave. They are so enmeshed in the environment–so attached to the land, the wind, and the water–that evacuating is, in some sense, death. It’s a death of the soul, of the spirit. By refusing to leave, they are resisting this death. 

And one thing is sure: as Caitlin points out, at the heart of Fogo is the theme of loss, of death. This is also the case with Lav Diaz’s oeuvre, which I have explored for the Brazilian film magazine multiplot!, available online. 

Slow Cinema has often been talked about in the context of temps mort, or dead time. After an action has come to an end, frames remain empty for several seconds, which tests the patience of the viewer. Lav Diaz’s films are no different, but his use of long duration and dead time takes on another dimension. He creates something that I call death time. Death always comes slowly in his films. It takes its time, and it’s not so much about dead time in Diaz’s films but about the slow descent into madness with death being a refuge for the persecuted. 

The journal is a complementary resource to the website you have come to love over the years. There is one secret, which I’m not willing to give away yet, and maybe I never will. But let me say one thing: I have invited filmmaker and artist John Clang to contribute, and his work is so gorgeous that I don’t think I will give it away before at least the pre-sale! 

The only thing you need to do now is wait. Which is what I do, too. Good things come slowly, and I’m not too far off the pre-sale. I’m just taking my time to make sure that it’s all good and that I can ship the baby without getting a bad conscience! 

In the meantime, if you missed this announcement, you can now support me not only via Patreon and a monthly contribution. You can also buy me a virtual coffee via Ko-Fi. I love coffee when I write for you! 🙂

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The Long Take – Art Cinema and the Wondrous (Lutz Koepnick, 2017)

Time for a new book review. It’s been comparatively quiet in academic publishing when it comes to Slow Cinema. I speak of experience when I say that it’s not easy to publish something on the subject in an academic context. Again and again, I have to point out that the best writing comes from outside academia. Just recently, the online film magazine Multiplot published a  special issue on Slow Cinema  with articles on Lisandro Alonso, Albert Serra and Lav Diaz as well as thoughts on online platforms such as those by Experimental Film Society and tao films. Those articles are free of constraint and therefore fit to the subject.

During my PhD research, I have come across Lutz Koepnick’s magnificent book On Slowness, which I reviewed here on this blog. Koepnick impressed me with his non-confirmative, out-of-the-box thinking. The result was that I became sadly aware of the limits of writing up to that point. Koepnick’s work aligned itself with my own writing, trying to see things from a different perspective, introducing a new angle, a new sub-topic, a challenging way of thinking about slowness. At the time, the author looked at areas other than cinema. On Slowness was a necessary contribution in order to diversify the debate on what slowness can mean and stand for. Most importantly, Koepnick noted a link between slowness and memory, something that I was particularly happy to see because I had often thought I was the only one seeing (feeling) this. If you haven’t had a chance yet to read On Slowness, you should get yourself a copy because it is a refreshing take on slowness in various art forms.

Koepnick’s new book The Long Take – Art Cinema and the Wondrous (2017) differs in many ways from the author’s first piece in that it is more focused and therefore also more constrained. If you have read his previous work, The Long Take will feel less liberating. It’ll feel drier and more directed. The book isn’t a journey the way On Slowness was. Instead, it is a directed effort to come to a previously established result. It feels more academic, and here it needs to be said that academic literature just doesn’t feel Slow Cinema. It has always failed at it, and those articles that try to change this have a hard time getting published.

Contrary to On Slowness, Lutz Koepnick focuses in The Long Take much more on cinema, albeit only one chapter is dedicated to Slow Cinema. Koepnick remains faithful to his approach of broadening the subject matter, as he had done before. This isn’t a book about Slow Cinema, it is a book about the uses of long takes in (art) cinema in general. Once more, Koepnick asks us to think out of the box. It is true that the long take is more often than not discussed exclusively in the context of Slow Cinema. I have always had an issue with this and argued in my PhD thesis that this approach was wrong, given that even early cinema contained long takes, primarily because editing hadn’t been invented yet, so actions had to be filmed from beginning to end. Koepnick follows a similar line, writing about Andy Warhol, Ulrich Köhler, Michael Haneke, Francis Alys and Sophie Calle.

Something the author introduces to us, and to the field of cinematic slowness, is the idea of the “wondrous”. According to Koepnick, long takes challenge “what it means to be attentive today” (9). Indeed, the idea of attention, of being attentive, of our patience has emerged (and has been foregrounded) when technology began to speed up our lives. What has happened to our attention as a result of an increased use of technology? As a result of ever quicker cuts in Hollywood action movies? But there is also the wondrous, which, Koepnick argues, the long take confronts us with. One might think of the feeling of wonder coming as a surprise, as a quick sort-of lightbulb that enlightens us. And yes, this is what it does. Wonder comes as enlightenment, in particular when one realises that you have never actually seen something, but have only looked at it.

“Wonder happens suddenly. It ruptures the fabric of time, yet unlike the traumatic experiences of shock, the wondrous neither overwhelms nor petrifies the senses. It produces curiosity rather than fear, rapt attention instead of sensory edginess or mental shutdown.” (9)

It’s not only about wonder to me, albeit Koepnick makes a very good point here. In the end, what often happens if you’re following the idea of yes-boredom (i.e. you’re willing to engage with something that seems to be boring), then you begin to marvel over what you see. It is the extraordinary ordinariness that we keep neglecting, forgetting, ignoring because it doesn’t fit into the concept of progress. We don’t have time for it. But, Koepnick reminds us, the long take can be a way to instil this wonder in us. And it can achieve this through many different ways. The author notes that the long take is not necessarily a form of cinema only. Instead, “it travels across different platforms of moving image culture” (3). As he has done in On Slowness, Koepnick tickles my personal interest in the aesthetic of slow and its links to memory, in particular to trauma. Writing about Béla Tarr and his apocalyptic films, he suggests:

“Long takes like Tarr’s embrace the mechanical time of moving image projection to open a door for the unpredictable temporality of human experience. … their aim is to envisage futures where trauma, fear, and ever-alert self-management cease to have a hold on what we know, how we act, and what we sense.” (12-13)

In On Slowness already, Koepnick noted correctly (in line with Chinese belief) that there is not one temporality, but several temporalities. Lav Diaz has always been emblematic for me in this context. His lengthy films always combine monotony with shock, the slow and the fast. It’s not so much a rollercoaster. It is a smooth, but very affective/effective way of showing that life doesn’t run at the same speed all the time. On the contrary, it varies because of our personal experience. Traumatic experience, for instances, can make you feel as though what happens happens in slow motion. There are other events which may appear to have passed quicker than anything else you have ever experienced. It’s this mix of temporalities that Koepnick (and Diaz) foreground in their work.

Part of this, in Koepnick’s work, is the formation of a new term, which I liked and which made me think: the cinema of thresholds. In his writing on the cinema of Tsai Ming-liang, the author identifies a very specific camera in the oeuvre of Tsai, a form of long take which sits at the edge of movement and transformation. In his own words,

“(The) cinema of the threshold does not present the slow as a mere inversion of today’s speed but rather as a medium to develop fundamentally different notions of movement and spatiotemporal mapping.” (83)

The concept of a cinema of threshold deserves further reflection on what the long take can achieve, although I noticed while reading that despite those very good arguments, Koepnick often notes the long take’s opposition to modern speed, which, if you’re a bit pedantic about it, cancels out the very argument I have just quoted. Nevertheless, the threshold between movement and transformation is an interesting one, in particular in video art. From my work for tao films, I know that there is certainly something marvellous about video art’s use of slowness in order to transform something; a background, an image, our perception, our thinking, our experience. It is not about merely showing us that there is another idea to life, a side that is slower than what we believe is normal. It is instead about transforming something, actively, which becomes a core characteristic of Tsai’s Walker series.

“What we witness in these twenty-one shots is the birth of cinema from the spirit of photography – or conversely a film trying everything at its disposal to escape the demands of forward motion and return back to the photographic.” (78)

Tsai’s Walker is essentially about persistent transformation. I have long argued that Slow Cinema combines photography and cinema, and Koepnick picks up on this. There is a push-and-pull between static and moving images, between movement and stasis without ever being either one or the other exclusively. Tsai Ming-liang’s films, especially his Walker series, invite us to consider the constant flux that not only images, but also we ourselves are confronted with throughout our lives.

All of that said, however, there are downsides of the book, which disappointed me, because I know Koepnick’s earlier works. I loved his precise writing in On Slowness, liberating (liberated) but precise, to the point. His clear language. In The Long Take, you often find expressions such as “some critics think”, “it is often concluded”, “critics argue” without the author noting who exactly argues or thinks this way. His precise writing gives way to generalisations, which is problematic. If you find an argument somewhere, note the author behind it so that others can verify it…first thing you learn as a PhD student. This rather annoying point is combined with a clear lack of proof-reading. In the last five years or so, academic publishers have obviously cut their proof-reader staff, because the quality of books is just no longer the same. The Long Take is by far not as bad as Dirk de Bruyn’s The Performance of Trauma in Moving Image Art, which was a complete disaster and should have been shredded and republished right away. Nevertheless, it feels as though proof-reading was the least concern of both author and publisher. It’s part of a trend to cut, cut, cut and publish texts no matter in what state, just so that you can be first in a specific field. I don’t think it’s the right direction, but authors and publishers have to decide if they really want to continue going down this route.

As far as the book’s bibliography is concerned, I have to say that it’s rather thin. It should be said that Koepnick makes perhaps more references to women writers than other authors before him in this field. But he has unfortunately fallen into the same trap, every other published author has so far fallen into: one always reads the same names. Elsaesser, Marks, Adorno, Benjamin, Jaffe, Flanagan, Deleuze, Schlosser, Kracauer, Mulvey, Rancière. I would be delighted to find something by Elina Reitere (PhD, Narration in Slow Cinema), or Diana Poppa (PhD, Slowness in Romanian cinema), or seeing my own work. The excuse that one isn’t aware of those works just isn’t convincing and the longer they’re ignored the less convincing the excuse becomes. Books on the subject matter we’re speaking of don’t have to be based on the same authors over and over again. It is a choice that the author takes when sitting down at his/her desk. It is also for this reason that On Slowness felt much more refreshing and a real addition to the field. The Long Take, on the other hand, while containing several interesting points, doesn’t reach the previous book’s quality.

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Shoah – Claude Lanzmann (1985)

It is clear to me that Claude Lanzmann’s Shoah (1985) would never make it into a Slow Cinema list. Perhaps, it shouldn’t be. Perhaps, it should simply remain a film apart from the rest in order to preserve its sheer monumentality. And truth be told, it might not feel like a slow film at all. It certainly feels different from the Béla Tarrs, from the Apichatpong Weerasethakuls, from the Pedro Costas of the world. Nevertheless, I would like to jot down some notes and try to establish a to me inevitable link to the nature of Slow Cinema.

I have become aware of the rather limited approach we seem to have in terms of establishing what is and what isn’t slow. Of course, the respective and perceived pace of a film is entirely subjective, and what is slow for me might well be fast for you. At the same time, there seems to be a sort of mutual agreement that slow happens primarily in feature films. Fiction films, to be more precise. Documentaries don’t pop up very often in our discussion on Slow Cinema. This blog is also a good mirror of this. There is, of course, the work of Wang Bing which has been so often used as an example of Slow Cinema. Apart from a sole exception, Wang Bing is, and possibly remains, a documentary filmmaker whose cinematic slowness is so essential to the stories he tells. He couldn’t tell those stories in any other way. At the same time, he seems to be pretty much the only widely known slow-documentary director, who pops up time and again in people’s writings and in their lists.

Why is this? Why do we seem to have problems to classify documentaries as slow? I believe that documentaries are, often in any case, slower than fiction films. It is somewhat “acceptable” to make a poetic documentary, a piece that takes its time and which allows people to tell their stories. Documentaries are only categorised as special when they are particularly long, which is the case with most of Wang Bing’s films, or Claude Lanzmann’s. Shoah is, by and large, the slowest documentary I have seen, which made me think about its “ingredients” and how they compare to the slow films that have become somewhat canonical.

I do not intend to write a review of the almost ten-hour long film. I would fail. And I would fail miserably. Whether one can write an adequate review at all, I have my doubts. There are so many stories to tell, so many emotions to mention, so many complexities to unravel that written words would never do justice to Shoah. Instead, I want to note a few aesthetic particularities, which I noticed were in sync with what I have written about in the last couple of years.

It remains true that not all slow films are long films. It remains true, too, that not all long films are slow films. Shoah is a particular case, however. Lanzmann set out to create a portrait as detailed as possible of what has been called the “Endlösung”. Similar to any major books you find on the subject, there is little you can cut out. The subject is complex, based on so many orders, on so many levels, in so many administrative regions, so much bureaucracy – it is impossible to recount this part of the Second World War in the usual, narrative way. Take the work of Saul Friendländer, “Nazi Germany and the Jews”, a two-part investigation into the persecution and extermination of the Jews. Overall, the French version (as an example) counts around 1,500 pages. A monstrous piece, in many ways. Just like some people argue that the Holocaust defies representation, certain writers (like Friedländer) and filmmakers (like Lanzmann) have shown that the Holocaust dislocates time and space. It dislocates narrative coherence, albeit it needs to be said at this point that Lanzmann tried to allow the “story” of Shoah to progress in an almost linear fashion. The Holocaust defies cinematic cuts, or ellipses to push the narrative forwards faster, to allow the audience to fill in the gaps. There are no gaps. Not only to prevent the viewer from filling gaps with escapist ideas, romantic ideas which they take from Hollywood films, which in most cases always have a Happy End. It is also about forcing the viewer to listen, to hear, to imagine the unimaginable.

Shoah doesn’t cut. It listens extensively to testimony of survivors, of bystanders, of perpetrators. If there is one thing that narrative convention in cinema, which has developed over decades, has done to us is that we no longer have the patience to listen to survivors. We expect them to tell their stories quickly, in a classical three-act structure, and please do not give any details. Our obsession with narrative conventions has silenced survivors. Alexandre Dauge-Roth has noted this problem in his writing on the genocide in Rwanda. The camera in Lanzmann’s film, on the other hand, remains with the one who speaks. Certain monologues of survivors feel endless, filled with horror, and yet it is impossible to stop listening. The very characteristic of Slow Cinema – giving time to a monologue, a dialogue, an event – is crucial here because time, that means long duration in this case, can assign the witnessing function to the viewer. And in becoming witnesses, we lift at least some of the burden on the shoulder of those survivors who were willing to talk to Lanzmann. Long duration, perceived slowness expressed through little to no movement within a frame, and the use of long takes, all parts and parcel of Slow Cinema, become vital in the representation of trauma.

It is of little importance who is speaking in front of the camera. Survivor, bystander, perpetrator – they all contribute to film as trauma. And the two aesthetics I looked at during my PhD research – duration and absence in Lav Diaz’s cinema – are very much the centre of Lanzmann’s work, not only of Shoah, but also of his last film Four Sisters. The latter film shares a lot with Wang Bing’s Fengming, which also consists of a single interview with a single woman in a single room. Minimalism becomes a vehicle for the transfer of traumatic memories. The focus on interviews, of people talking in front of the camera, their words translated on camera so as to keep the authenticity of what happens alive, all of this results in one major theme: absence.

Shoah is perhaps one of the most haunting films, precisely because it doesn’t show anything. It can’t. It is a post-trauma film, a film that is visually set in the time after the traumatic event occurred, but where the monologues position us inside the traumatic event itself. It is common practice in films by director Lav Diaz, for instance, that traumatic events are spoken about but never shown. Perpetrators are mostly spoken of, not seen very often, or not seen at all. Trauma resides in the past. Shoah is one of those films, albeit it must be so by default. The absence of traumatic imagery results from the absence of real imagery of the Holocaust (excluding four photographs that have been found – see further Georges Didi-Huberman). This means that the haunting nature of the event, as well as of the film, is entirely natural, is consequential rather than forced upon from the outside. There was no choice, there were no options – the particular present absence / absent presence, which is so vital to slow films and their treatment of trauma (for example, the films of Lav Diaz or of Pedro Costa) stands at the core of Shoah.

This particular point is most visible, perhaps even haptic if you wish, in the second half of the film. Filip Müller, a Czech survivor, speaks in detail about the process of the extermination; the arrival of a train, the undressing, the hair cuts, the way the people had to walk, their way through the so-called Schlauch, their screams. Lanzmann overlays most of Müller’s detailed description with images of the ruins, the remnants of the Auschwitz gas chambers, with images of what has remained; nothing but the mere skeletons of the past. There’s a friction here; the images of ruins invites one to imagine, invites one to let the imagination wander, perhaps even wonder. Yet Müller’s monologue, in painful detail, doesn’t allow for imagination. He doesn’t allow for gaps, for holes to open up. There is a constant push-and-pull between what we would possibly like to do as viewer, and what the survivor wants us to do, namely to listen.

Nothing is more effective than not showing. Nothing brings out (post-)trauma so well as does a rejection of visibility, of showing. Nothing makes the past more palpable than using time and space invested in listening, and not only simply listening to words. It is about really listening, not just hearing some words. Lanzmann’s Shoah is so minimalist, so simple that it creates an adequate space and an adequate time for traumatic events to resurface in the survivors’ memories, which can then be uttered, be brought to the surface, be brought into the open. Only slowness, only unconventionality, only long duration and absence, only minimalism can do this. Only Slow Cinema, I personally believe, can really be a cinema of (post-)trauma because all types of aesthetics that are favourable of an exploration of post-trauma are at the filmmaker’s disposal. Slow Cinema can become a vehicle for survivor testimony, if used adequately.

(NB: I began this sort of work in my PhD thesis. If you want to read it, it’s available here.)

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Austerlitz’s time

What is Austerlitz’s time, and where do I get this from? Well, I didn’t expect my wanting to write a blog post about Jacques Austerlitz when I picked up W.G. Sebald’s magnificent book Austerlitz. It’s Sebald’s last novel, published in 2001, and focuses on a man who is simply called Austerlitz most of the time in the book. Austerlitz is haunted by a past he doesn’t know. For most of his life he had ignored where he was from. Or rather, he frankly didn’t know. His memory blocked a very essential part of his life, his childhood, but this blockage was the cause of his being haunted by a past he could never clearly see. For him, as he says, “the world stopped for me at the end of the 19th century.”

At some point in the book, when Austerlitz meets the author again and continues telling his story or his accounts of fascinating historical facts or architectural designs, Austerlitz makes a couple of remarkable statements about the subject of time. Overall, there is so much you can take from this book that it has become, for me at least, one of the best books I have read in my life.

Austerlitz proposes the thought-provoking argument that “time is of all our inventions the most artificial one”. This might sound strange at first, but it sort of accompanies what I had been writing about on this blog in the early days regarding time, as we know it, as an artificial construct that has nothing to do with nature. What Austerlitz describes here, without directly mentioning it in the paragraph that follows, is man’s invention of the mechanical clock that divided a day into 24 equal hours, each hour into 60 equal minutes, and every minute into 60 equal seconds. Before the invention of the mechanical clock, people lived according to the natural cycle of the sun. That was especially true for farmers who got up when the sun rose and stopped their work when the sun set. I strongly believe that was also true for cave men who ventured out in daylight to hunt (another vital factor here is the aspect of darkness as posing a threat to man, which changed when street lamps were introduced much later).

I also remember Lav Diaz saying that life in the Philippines changed drastically when the Spanish colonisers introduced the mechanical clock. All of a sudden, time was linear and not, as the Chinese, for instance, believed, a river with many different arms and therefore directions, waves, and ripples. Time became a constantly progressing entity that, as you might also remember from my writing, becomes completely obsolete when someone suffers from PTSD. It is PTSD that disrupts the linear time we have created with the invention and introduction of the mechanical clock, but I wonder whether it’s not this concept of linear time that reinforces this traumatic stress because it is expected of us (and time) to persistently move forward. So if a person is stuck in the past, or if the past repeatedly resurfaces (because this is how life is anyway – a mixture of past and present that leads to the future), then this is not an acceptable development. (NB: My PhD thesis explores the themes of duration and time in the context of post-trauma in more detail.)

The mechanical clock turned time into something that can be measured, that can be divided, and that only ever follows a linear progression. Austerlitz continues, “if Newton really thought that time progresses like the current in the river Thames, then where is its origin and which sea does it flow into?” But Austerlitz isn’t done. He asks, “everyone knows that a river has two shores. But what are, then, the two borders of time? What are its specific characteristics that correspond approximatively to that of water, which is liquid, pretty heavy and transparent?”

I don’t have an answer to this question, but I marvel about it and have been thinking about it since the first time I read it. It all makes me think of Chinese philosophy again, and its perception of and approach to time that differs so greatly from our Western standards. In particular, the idea of time having different speeds, different directions – simply put, varying and various characteristics – is something that pops up in my head over and over again when I read about prisons and the concentrationary system in which the concept of time is used as punishment and torture. What happens in those circumstances, especially in solitary confinement, is that people are taken “out of time”. In some cases, imprisonment becomes a place where the linear progression of time no longer applies, but where time instead becomes an utterly confusing, anxiety-inducing construct used for the sake of extracting information from prisoners. This “being out of time” is also mentioned in Austerlitz’s monologue, but in a different context.

He argues that despite our lives being seemingly governed by the mechanical clock, it is and remains the cosmos that really structures our lives, an “unquantifiable vastness” that does not comply with linear progression but that progresses more in the form of swirls, precisely what the Chinese proposed centuries and centuries ago. Time is not linear but circular. This, Austerlitz says, is what governs life in “lesser developed countries” but also exists in large metropolitan cities, such as London. “Aren’t the dead out of time? Or the dying? Or those who are sick and confined to their bed in hospital?” Time stops for them, or progresses differently than the way prescribed by our mechanical clock.

The question I pose (more or less to myself) is to what extent film can help us understand this, can help us see that time is not a linear progression or that there are several people who live “out of time”? Can film, as a time-based medium, do this at all, or will it always fail because film, just like time, is an artificial construct?

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Slow reconciliation with nature

This morning, I left the house at 8 o’clock. I went to a bridge that is close to my flat and that overlooks the canal Saint Martin in Rennes. I waited a bit but decided to walk a little closer to my flat again. The canal to my right and new apartment buildings to my left, I was waiting for the sun to rise. It was a cold night, it had snowed the evening before too. I stood there for an hour, not moving much, my gaze fixed on the horizon…just there, behind the tree tops, I expected the sun to appear. I’m sure that the construction workers who could surely see me wondered why I was standing there doing nothing. But even though they could stop even for a minute to marvel about this wonder of nature, the beginning of a new day, they don’t do it. Time is money. Every lost minute means delay, and delay costs money. So, naturally they keep working while I’m watching this fireball slowly appearing behind the tree tops. A wonderful sunrise in the cold at 8.36am but not visible until 9am. I could see the small changes in the colour of the clouds behind me as they slowly turned pink. The sun had an effect on everything before I could even see it.

It was this morning that I thought a bit more about something I heard on radio the other day. France Culture posed the question whether we should reconcile with nature, and if so, how. I didn’t hear the entire broadcast as I had only just stopped teaching and was on my way home. The broadcast reminded me a lot of slowness, contemplation, of the idea of taking one’s time to really see. The reason I’m writing something on this blog is because they spoke about film. I had hoped they would mention slow film, but they didn’t. A missed chance but perhaps it’s something I can start here on The Art(s) of Slow Cinema.

One of the guests, Anne-Caroline Prévot, looked into the representation of nature in Walt Disney films for a research project and found that the face of Disney has changed a lot. No more Snow White’s singing with birds. Away with characters dancing in the green, appreciating the beauty of nature, being one with it. Since the 1950s, Prévot argues, Disney has adapted (I would even say reinforced) our decreased interest in nature, in its marvels. Nowadays its films show more brick buildings, city life, cobble stones people walk over than characters appreciating nature. It’s how life is these days. In the last decades, waves of migrants from the countryside have moved to the cities in order to find jobs. Countrysides are now deserted. France and Germany, for instance, face critical “medical deserts” where everything has closed because only a handful of people live in those regions and it wasn’t financially viable to keep even one doctor there. Life is city life nowadays, and cinematic representations very much go with the flow.

That said, we’re speaking about mainstream representation here. It is mainstream that shows us where and how we life, and that can propel us into the future. It is independent cinema that can remind us of what life should be, and could be. Slow Cinema, I believe, is one type of cinema that reminds us of the marvels of nature. Not only, I should say. But one of its main characteristics is that films are primarily set in nature, something Walt Disney has gotten rid off in the last couple of decades (apparently since the 1970s). It looks at empty places, places where people have stopped looking. It looks at those “deserts” that have become so widespread in our developed countries. But, most important of all, they function as a reminder to be. Not to make something, but rather to accept our surrounding and see the beauty in it. For that, it needs time, time which slow films give us. A film I recently saw comes back to my mind: Abbas Kiarostami’s Five. I’m also thinking of Lisandro Alonso’s films (La Libertad, etc), Alamar by Pedro Gonzales-Rubio or Semih Kaplanoglu’s wonderful Bal. 

These are, of course, narrative films. I believe that experimental films can go even further because they can dwell even longer without necessarily having to push a narrative forward. But there is also a wonderful book titled Cinema and Landscape by Graeme Harper and Jonathan Ryner. I’m aware that the broadcast was really about nature, but if you mention film you might want to take more than 2 minutes in really exploring how cinema represents our attitude to nature, but also how film, as a widespread form of entertainment, can help us to reconcile with nature. I strongly believe that Slow Cinema can do its share there and is already doing so. It’s not as visible as one might want it to be, but it’s there and good change is often a result of grass root movements…so maybe we’re seeing something in the making here!

(Little reminder: the tao films advent calendar is now available on our website. 24 short films until Xmas. A new film every day. Check out our website and check yesterday’s post for more info.)

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The Essence of Place – Susannah Ramsay (2017)

It is 8.30 in the evening. It is dark and wet, although it has stopped raining for a little while. I’m at the RSPB reserve in Loch Lomond, Scotland, and embark on a journey through the reserve. My way is lined on both sides with candlelights, guiding me in my way through the reserve. It is pitch black and the rain slowly begins to fall again. The atmosphere is stunning. I can barely see something but my ears listen to every sounds that comes out of the darkness around me. Not out of fear. It is an engaged and curious listening to nature. It is about being present, which, in some cases, only our ears can make possible. It is our ears that have first become deaf as a result of the drastic change towards a speedier life. It is the ears that have lost most of their real value nowadays, filtering even more than do our eyes. Our ears are confronted with noise all the time, overpowering noise that silences the natural world around us. It takes will and effort not only to listen but also to actually hear (which somehow makes me think of Chantal Akerman’s thoughts on “seeing” and “actually seeing”).

I did listen, and I did hear on 21 October, when I saw Susannah’ Ramsay’s new film poem The Essence of Place, a work that was directly connected to the place it was shown at. Shot at the RSPB reserve it was also shown there, under the night sky, on a huge screen. A walk through the pitch black night allowed for a real sense of the surrounding nature, of life embalming us, of the preciousness that we’re no longer aware of. It was impossible to walk speedily towards the screen; the darkness robbed you of your vision. You had to be careful, attentive to what was around you. Darkness, especially the pitch-black night, is an invitation to slow down. Perhaps it is a demand, a request that cannot be turned down. Slowing down is a must, and is rewarded by a beautiful auditory perception of life around you.

“This is where I am. My body is inscribed in the contours of this landscape… Contemplation, nature’s secret language… I remember those need for words that sorrow brought and left with it long spells of nothing.”

After a walk through the darkness, one begins to see the contours of a huge screen at the horizon. The soundtrack of the film becomes audible. One is almost drawn to the light of the screen, like a moth that is attracted to the light in the pitch-black night. Ramsay’s The Essence of Place plays on a screen that is surrounded only by the vastness of the reserve. It is a short film/poem that beautifully captures – in writing and in image – the simple and beautiful wonders of nature, wonders we have come to forget. In her work, Ramsay demonstrates quite literally what the title of her film suggests: the essence of place. It is a phenomenological thought and conviction, the idea of watching Ramsay’s images at the exact same place where they have been shot. The viewer, the viewed, and the place become one; a sort of symbiosis actually in which we become aware of our relationship to one another and the ways in which our behaviour affects the other. It is awareness that Ramsay’s film instills, from the beginning of your walk through the reserve to the very end. It is awareness that is now more important than ever, and it is awareness that takes time to develop.

 

“I walked past your footprints again today. I still didn’t hear your voice. Here is where I am, consoled by the beautiful wonder of nature.”

The film, or rather the film experience, made me reflect about the importance of place in the context of film viewing. I said several times on this blog that a place (or space) influences the way we approach a moving image piece. We have expectations when we go into the cinema, and we also have specific expectations when we go into a gallery to see a video installation. Those expectations differ greatly, and it is the place/space that can also influence our perception of whether a film is “good” or “bad”. It is well known nowadays that slow films as shown in a cinema usually lead to walkouts. The cinema as an institution has, in its history, not been a place that invited contemplation. The cinema is a place for entertainment that tends to come with fast cuts. Now, slowness in a gallery is perfectly acceptable because we have come to accept that in a gallery one usually contemplates pieces of art anyway, so if you were to add a slow film into this mix it wouldn’t really upset your expectations. Ramsay goes even further, however, by showing her film outside, in nature, the same nature we see in the film. So where does this position the viewer? How does she position the viewer, and in what way is there an active rather than a passive spectatorship? Lots to think about!