Could it be true that Bergson’s dream of duree in the movies can’t be achieved by following the intentions of Lumiere’s patterns. That it can only be reached by misusing an invention that wanted to depict continuous movement and thus carried the tormenting germs of representational time. That only the most terrifying destruction of physical continuity that is achievable by camera operations can give the spectator at least an idea of what duree can mean in film? The most admirable invention of the narrative cinema, the inevitable and systematic return – out – usually one of the worst carriers of non-duree – can become the Santa Maria that sails to reconquer the realms of real time? That nobody takes any notice of you? That the only trace of your appearance that is perceived by other people is your despicable body odour? If these questions and more torment you in your dreams and are a trouble to your days, you might find a few answers in watching Unreachable Homeless. The main character of this film is a person who wakes up one morning and realises that he is but a robot. In the course of the day his appearance changes and when finally night dissolves his identity, we participate in the most horrendous sexoaesthetic inversion any human has witnessed to date.
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