Zen for Film

Either I.) An interpretation from the outside of the film (retrospective, historical-critical, and speculative): when the film discovers its ability to express anything, any topic, in short, everything through itself since the turn of the 1950s and 1960s, it also brings the dialectical necessity to demonstrate this fact by the opposite pole of extremes, which confirms this fact, creating a film about nothing that expresses nothing. To prove that a film can represent anything, as it is essentially not connected to anything. Or II.) An interpretation from the inside of the film: the anti-representative character of the film sign creates an arc through the viewer's head, through which the sign speaks for itself. However, it shows that emptiness is unbearable, and the viewer seeks anything to hold onto - from random material damage to the film strip, to, for example, the "study" of the edges of a white square and their symmetry, to the fact that they won’t finish watching the film, which is the best proof that it is better to live with the illusion of something than to experience nothing, which is impossible in itself. In any case, it is a beautiful case of a film manifesto of experimental creative destruction. (27.06.2018)