Of surveying the world and cinemas joyful daring.
What can be heard, never stopping, seems to be from some cuttings or other, in the background the bells of a herd of goats, and in the foreground geese (and church bells, a few people: richness), and once, possibly a shepherd, someone who loudly calls arrêtez! Stop! rather than firm (permanence, stability), the title Arrêté.
What can be seen is the interior of a house, and the sound suggests in the same way as what can be seen of its surroundings through the doors and windows and cracks both architecture and light that it is somewhere in the country. One of these openings to the exterior occupies the precise center of each image. After a fade-in, at the beginning of every scene, we can see the space around or leading to the opening at the maximum aperture until the space is almost submerged in light; the lens aperture then closes smoothly to the minimum stop and darkness discreetly envelopes the visible elements; this is followed by a fade-out. This happens despite all the openings in the house (which always seems too orderly in some way). All cloudless summer days are present here, as a balsam. (With a fly...) just like the substance of film, in its inner disquiet, in its schism: the cinematographic image and the precinematographic frame, the switch between different perceptions in the other or around the others, in the movement of
the light. (Olaf Möller)