I.E.

“I.E.” is composed of a series of themes and variations involving the interaction of camera and filmmaker. There is a predominance of in-camera animation, and the resultant distortions and manipulations both reveal and conceal the process of the film’s making. “I.E.” deals with illusion, although there is no doubt that it verges on the autobiographical. What we see is the filmmaker inthe act of making the film, that is, we see the taces of this process, insofar as the procedures used are capable of transmitting them. The figures in the film finally lose their abstract value and become vehicles for the rhythmic, lyrical flow of imagery.