My starting point is the astonishing experience of the changes in one and the same picture. The motive of the film is the view out of my studio window in Schönlaterngasse. I have observed the transition from street to sky over a longer period. Changes in the day, the seasons and my inner psychological state bring movement to the frozen frame. The inner changes are a particular point of emphasis in the film. The experience of the freeze frame view is overlapped by material corresponding to the psychic layers of consciousness. I imagine various motives in the street - for example, glittering water with flying white seagulls, a portrait of Barbara Stanwyck, a scene from Berin and one from San Francisco.
A house facade as compressed memory, an ephemeral film between inside and out, between then and now. In Linda Christanell´s newest film Moving Picture, the opulent presentation of fetishistically decorated tabeaus has made way for a material-transposing montage technique. The applied viewpoint (via Barbara Stanwyck) opens up multi-dimensional insights and varies thoses poetic aspects which have till now been indicative of Christanell´s moving (in both senses of the word) images. The results are new cadenzas in sound and picture.