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In between is a take, a fifteen-minute zoom. Like every film image, the picture is both three-dimensional and flat – only here, one feels it. The view is out of a window down into an empty courtyard (that, too, is a type of funnel) and at the same time, it is geometrically abstract. Arising from this flickering between space and surfaces is time, a time that lasts longer than fifteen minutes. In other words: the picture is uncertain, it flickers, shows more than the eye can see. The less there is to see, the more there is that looks out at us from the image. The time in the funnel is that of a ghost. Cinephile memories haunt in the blend, from Michael Snow´s Wavelength zoom through to Hitchcock images that draw in the gaze: Rear window, the drain from Strangers on a Train, the shower drain in Psycho.
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