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that it "might be the pinnacle of a long and distinguished career", praising the way Dorsky's "observation of shapes, textures, movements, and colors of mostly commonplace realities organized into densely unhurried skeins of interconnected motifs".
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marked a progression in his polyvalent editing style. He drew connections between shots based on elements like colors, patterns, or iconography. Dorsky sequenced the shots so that they could link back to earlier shots in the
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called the film "visually compelling", asking, "Is there a more beautiful cinematic image than a plastic shopping bag gently blown by the wind across a stretch of pavement?" Paul Arthur wrote for
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Since the 1960s, Dorsky had operated by shooting footage without a specific use in mind and then editing films together from the available shots. For
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likened Dorsky's approach to collecting images to a "a nineteenth-century naturalist combing the woods for new species of fauna" and described
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as "a film that pulses with serenity." Arthur named it one of the best films of 1998, and Jones placed it fourth on his year-end list.
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that connect them. By using this strategy, he aimed "to make a montage that opens up yet accumulates."
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113:. It is the second film in a set of "Four Cinematic Songs", which also includes
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The film screened in the "Views From the Avant-Garde" program of the 1998
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wrote that it "borrows an image (and an entire esthetic of beauty)" from
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Dorsky was contacted by the production staff for the feature film
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349:(2001). "Sacred Speed: An Interview with Nathaniel Dorsky".
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A Critical Cinema 5: Interviews with
Independent Filmmakers
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447:Arthur, Paul (1999). "The Avant-Garde in '98".
386:"The Avant-Garde Lens, Heavenly and Harrowing"
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473:. Vol. 35, no. 1. pp. 35–36.
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170:painting. He noted the era's early use of
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703:1990s avant-garde and experimental films
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420:"Whitney Biennial Film/Video Program"
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162:25 stock. Dorsky's compositions in
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718:Films directed by Nathaniel Dorsky
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206:. In 2000 it was featured in the
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174:before the development of
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317:MacDonald, Scott (2006).
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723:Films shot in 16 mm film
365:10.1525/fq.2001.54.4.2
245:, asking how director
204:New York Film Festival
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733:Silent films in color
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738:1990s American films
384:(October 10, 1998).
728:Non-narrative films
487:(October 9, 1999).
325:. pp. 79–101.
494:The New York Times
391:The New York Times
166:are influenced by
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16:1998 American film
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332:978-0-520-93908-0
281:(November 2007).
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249:could view
172:perspective
121:Arbor Vitae
27:Directed by
698:1998 films
692:Categories
640:Variations
544:Variations
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265:References
259:Variations
251:Variations
247:Sam Mendes
234:Variations
230:Kent Jones
183:Variations
164:Variations
160:Kodachrome
149:Variations
139:Filmmaker
131:Production
99:Variations
75:24 minutes
22:Variations
214:Reception
425:Artforum
359:(4): 2.
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88:Language
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198:Release
188:montage
80:Country
57: (
662:(2017)
651:Cycles
643:(1998)
635:(1996)
632:Triste
627:(1987)
619:(1987)
611:(1983)
608:Pneuma
603:(1982)
501:May 6,
432:May 6,
397:May 6,
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295:May 6,
123:, and
116:Triste
104:silent
91:Silent
624:Alaya
592:Films
157:16 mm
153:Bolex
549:IMDb
503:2021
434:2021
399:2021
327:ISBN
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192:cuts
59:1998
55:1998
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