Summary

Wyborny’s latest flicker film concentrates on factories, industrial wastelands, waterways, cityscapes, and the bits in between, and has an uncanny emotional resonance. It is “serene, in the manner of ants”—to quote the title of the second section—but it is also elegiac and melancholy. Like two other old cranks (Godard and Straub), the director stays true to ideas about filmic composition gestated over many years and thereby provides a glimpse of a utopian cinema.