Abstract

Around these unstable, ill-defined, gaseous images, the film most daringly constructs multiple film-worlds. These are parallel, or subjective, or future film-worlds – sheets of time, as the philosopher Gilles Deleuze would call them – narrative lines which refract over and around each other to create an almost crystalline form to the film. And these sheets of past, present, or future fluidly combine and twist: scenes shift with the swiftness of thought.