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Rushlight is a living entity, a body, breathing, inhaling, exhaling…

Rushlight is a living entity, a body, breathing, inhaling, exhaling…

Dear Ms Fisher,

I had the opportunity to see four of your films recently thanks to re:voir, and I wanted to express my euphoric reaction to them, in particular to Rushlight / here today gone tomorrow. Rarely have I seen a film that opened up so many ideas and possibilities to me. I found that your film encouraged endless varying approaches towards watching it, engaging with it, taking part in it. Perhaps it is because I am a young violinist/composer myself (and not a film-maker, or film-er), and it is certainly terribly cliché, but Rushlight appears like a true musical work to me, and it reminded me of something I’ve read recently, what Eisenstein remarked after witnessing the premiere of Abel Gance’s Napoleon: “The film of the future will be (…) a sort of visible symphony, (…) with the theme in the centre and on both sides a development of the harmonies and the accompaniment.” As you remark that your film takes time, passage, transition and memory as its subject, the comparison with a symphony (or perhaps also a more modest piece, i.e. a string quartet) seems particularly apt, even if I usually oppose an all too broad analogy of music and film, often obscuring rather than illuminating the work in question. But here, as in music, I am pivoting, while watching, between ways of experiencing your work, different focuses: at times simply observing the objects, landscapes and people filmed, or observing the specific patterns that engulf them; focusing specific parts, edges, of the image, or simply be carried away by their interplay and the flux; harmony, melody and rhythm are all tangibly there, on the screen. I can’t describe the beauty of the train that seems to pass at one point; I am just here, clutching at it, gasping. It’s almost as if your film doesn’t want it’s frames to pass – they are fighting against themselves, against their passing by, and this is exactly where its beauty stems from. Images that have to fight their way into the previous ones. A music that mourns the way of existence it is condemned to, that mourns its own ephemerality; that writhes at the passing of time but simultaneously embraces it.. where to writhe and to embrace becomes part of the same gesture.

I haven’t really found any writing on the internet of this particular film.. is there any? It seems to me (though I have of course not nearly seen enough, also of your own films, to validate my opinion) that it’s a landmark work… I had to think of Kurt Kren’s “31/75 Asyl” as a work that, while deploying different strategies, also opens up countless ideas and approaches, that tenderly opens up new realities instead of presupposing them – final comment: Rushlight is a living entity, a body, breathing, inhaling, exhaling.

I am determined to seek out any of your other work,

With Best Regards, especially in those difficult times,
Simon Wiener

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