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Hi Bob I was so curious about what you said that I actually went and bought American cinematographer mag and found the article a very interesting read. It is interesting that he wanted to make the 12 sequences feel like one-shot sequences, (I remember wondering how he did certain shots when watching the film), as opposed to them being real one-shot sequences. The seamless representation of time he wants to create from it really takes away the episodic (going back in time) feel of the film. In fact, as your title suggests, it has two endings. the beginning (which is in fact the end in terms of chronology) and the ending of the film (which is then free to function not only as a causal means to the chronology, but a memory-image) In fact, the whole film is like that of a Proustian memory... existing outside of your own memory, but one which exists in time. also, having read the article, it really puts into perspective for me the visuals at the opening of the film -- the 'breakdown' of the camera is a beautiful way to capture what we were seeing/ not seeing. you can see that in the rape sequence (which I described before) the camera having taken on an 'affect' and staying with Alex, mimicking her movements... Just on a technical point, have you seen Russian Ark? I read about it in The Guardian film review section last year, and have been reading all that I could find on it since, especially the long article in Jan edition of American Cinematographer mag (which was excellent and insightful). I would love to hear your comments on it. ( i haven't seen it as yet, but it's finally coming to Australia this easter, so I'm curious to discuss it). cheers Janice ________ Janice Tong Cinema Studies Department of Art History and Theory University of Sydney Ph: 61 2 9351 6908 Fx: 61 2 9351 4909