别烦我

Alongseriesofunrelatedimages,revolving,oftendistorted:lights,flowers,nails.Alightboardappearsfromtimetotimecarryingthenewsoftheday.Then,aneye.Awomaninacardrivesalongcountryroads.Farmanimals.Shedescendsfromthecar,againandagain.Images:dancinglegs,seashore,swimmingfish,geometricshapes,cutglass.Amanremoveshisstarchedcollar.Itrotates.Agirlhasgarishlypaintedeyes.No,she’sonlyfooling.Thosewerehereyelids.Aseriesoffragments,acinepoemwithacertainopticalsequencemakeupawholethatstillremainsafragment.Justasonecanmuchbetterappreciatetheabstractbeautyinafragmentofaclassicworkthaninitsentirety,sothisfilmtriestoindicatetheessentialsincontemporarycinematography.Itisnotan“abstract”filmnorastory-teller;itsreasonsforbeingareitsinventionsoflight-formsandmovements,whilethemoreobjectivepartsinterruptthemonotonyofabstractinventionsorserveaspunctuation.Anyonewhocansitthroughanhourx27;sprojectionofafilminwhichsixt