Abstract
My approach to Oswald Iten’s text was to perform acts of ambivalent homage—the cruelty of Michael Haneke is paired in my film with the capaciousness of Chris Marker—as a form of memory work embedded in a domestic present. I tried to allow a dream logic of condensation, doubling and displacement to guide the shaping of the whole, which was whittled down from a much longer adaptation of Oswald’s rich account. My narrator is embedded in his own memories.
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