‘…impossible memory in the face of persistent physicality …what darknesses the film will have will not be connected to nature’s night, equally light will be unconnected to ‘day’ – distension from any nature, including the nature of film, of the viewer’s natural ‘seeing’…
…superimpositions, or rather, overcondensings are: more than one time – none a memory, none a nostalgia, none a fictive past or otherness, just another.’ – PG, London-Paris, June 1996- October 1997
