An episodic road movie, “Undivided Attention” offers experiences in cinematic metaphor and structure that contradict, tickle and soothe our desire to understand and make sense of what we see or think we see. A young couple driving in an open car take the viewer through more than twenty intriguing sequences that stimulate the visual sensibility as the film explores the relationship between intellectual and sensual knowledge. It also comments on some conventions of narrative and documentary and has some fun with film theory. “Undivided Attention” works on various levels, the most accessible being entertainment value and on a more astute level, the cinematic exploration of denotation/connotation in an oblique narrative. It is a rich and challengin film that is also a pleasure to watch.

A taxonomical crash course listing, ordering, classifying phrases, words, letter and numbers. A collision course of the domesic and fragments received from “out there.” A visual assault course of home movie footage of the filmmaker’s family, drawings and text repeated and reprocessed on film, video and computer. A correspondence course from expatriot Australian de Bryun. Can we ever truly understand science?

“Under White Skies” is a visual discussion of an event, a woman’s lonely decision that is portrayed in stark black and white. Three points-of-view depicting the same event result in one reality. Time, place and order are taken out of context within an essentially narrative structure.

…the nearest equivalent to the NON-pictorial workings of my mind which these London scenes, before my eyes and camera lens, would afford – each scenic possibility distorted from any easily identifiable picture to some laborious reconstruction of the mind’s eye at the borders of the unconscious. It was two years before I could even begin to edit; and then some visual-song of all of England’s history began to move thru this material… (SB) “Prisms, focus shift and visible grain lend a degree of abstraction to images which slowly become recognizable (and, to the British eye, familiar) buildings and house fronts… Fluid editing and subjective shooting (with the eye kept close to textures and surfaces) stress that the film is a personal documentation of the act of seeing as well as of the sights perceived… The clear invocation of Monet may imply that London is in a sense déjà vu… History, memory and the physical structure of the city can perhaps be seen as layers of the ‘unconscious London strata’ explored, or reflected in the memory-passage of the film.” – A. L. Rees, British Film Institute