Late Cinema

The film depicts a woman from two sides at once: walking towards and, simultaneously, away from the camera. One moment at a time. Frame by frame. The rhythm of this formal injunction results in an almost cubist perspective of flattened space. Installed for gallery exhibitions as an endless loop, the viewer is rendered immobile in-between glances. “I conceived of this work whilst running down the path where it was shot, following Kim (the filmmaker Kimberley O’Neill who appears in the film). That day we were late for a screening at the nearby Renoir cinema in London.” Late Cinema, plays with this memory but also firmly positions the work in relation to the history of experimental moving image. The rule-based shooting and editing methodologies devised for this piece have affinities with structuralist strategies of the 1960s and 70s.