An abstract, minimalistic showpiece of late structuralist film made up of 360-degree pans across a children’s playground – and to one of the gods of his cinephilic pantheon, Anthony Mann. In concrete terms, he alludes here to a scene in Mann’s Glenn Miller Story in which black-and-white documentary material from the Second World War is in experimental film fashion nightmarishly intercut into a scene, breaking with Hollywood conventions.

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