In this film he takes a real-world situation — a man sitting on an empty restaurant ter- race in winter — and rhythmically changes the perspectives of looking at him and the restaurant furniture, like Hokusai’s variations of view of the Fuji Mountain. This is one of his most structuralistic films.
In this film he takes a real-world situation — a man sitting on an empty restaurant ter- race in winter — and rhythmically changes the perspectives of looking at him and the restaurant furniture, like Hokusai’s variations of view of the Fuji Mountain. This is one of his most structuralistic films.