Summary

Mc Hardy’s film, No Common Sentence, in part situates itself in an experience of a time very much specific to the conditions in which the artist lives as a new mother… I say this only in part, because the relationship to time we are given is also one of a developing grammar, a provisional grammar met out as a time of care, both abstracted and made specific in its opacity. The grammar of No Common Sentence is defiant, it is slow, it is repetitive, it is messy, and it ruptures conventions within cinematic language as it also retreats into a rhythmic tide pool of imagelessness.