Presents ( Michael Snow, 1981), part 1

The apparent vertical scratch in celluloid that opens Presents literally opens into a film within the film. When its figure awakens into a woman in a real unreal set, the slapstick satire of structural film begins. It is not the camera that moves, but the whole set, in this first of three material investigations of camera movement. In the second, the camera literally invades the set; a plexiglass sheet in front of the dolly crushes everything in its sight as it zooms through space. Finally, this monster of formalism pushes through the wall of the Philip Monk, Art Express