Inhalte(1)
Ein Mord zwischen leeren Benzintanks, eine MG-Salve am Strand, ein einsames Kind, das mit Muscheln spielt: In seinem Debütfilm wagte Herbert Vesely surreale Experimente und schuf einen Klassiker. (Sky Cinema)
Kritiken (1)
Lost in the metaphysical painting of de Chirico's cities emptied of people, encountering only their indestructible remains instead of man: their phantoms (in the polyglot universe of the film, both in the sense of Greek and Spanish, which are also heard in the film), which emerge from the desert as Dalí's impossible objects, those melting clocks that dissolve in the annihilation of time in the post-atomic wasteland in a microsecond zero and place this film alongside the surrealist films of the 1930s and 1950s. However, this flattening of time also leads to less categorizable formal play with editing, bending elliptical time, or quick cuts, as well as analeptic/proleptic montage, which creates a new reality without having to construct impossible surrealism. An essential element of the film is its literary anchoring, where the intertextual source in Camus' work is almost a complete generator not only of the film's overall statement but also of its specific fictional plots (the harsh sun, the revolver shots, etc.).
()