Rollin's images are usually pure enough in just being themselves, that it's all a matter of how much concentrated emptiness he can shape around them; in other words he does story poorly, so when he manages to concentrate just a few strands around a sense of place his films can soothe with a dreamlike resonance.
The story here is about distraught amnesiacs kept under lock in a mysterious apartment complex. So we get a lot of somnambulist wanderings along empty corridors, a lot of stanzas about the ineffabilities of touch and connection in clinical environments; always on the verge between paralysis and sleep, bursts of emotional clarity - usually in the nude - drowned by despair.
The imports are distinctly Cartesian; so the mind matters, thought matters because ergo we are, memory, the self. Losing these is tantamount to a spiritual death.
So a lot of outdated ruminations on a philosophical level, not to say anything of Rollin's tendency to eventually rationalize the mystifying in a way that, looking back, we can contend ourselves that it all somehow made sense; here nonsense about a nuclear spill and the mind deteriorating on a cellular level.
But the sense of place is occasionally just powerful enough, the emptiness mirrored outside in desolate urban landscapes, that it merits one viewing for fans. You can relax with this, but perhaps a bit too much.
The story here is about distraught amnesiacs kept under lock in a mysterious apartment complex. So we get a lot of somnambulist wanderings along empty corridors, a lot of stanzas about the ineffabilities of touch and connection in clinical environments; always on the verge between paralysis and sleep, bursts of emotional clarity - usually in the nude - drowned by despair.
The imports are distinctly Cartesian; so the mind matters, thought matters because ergo we are, memory, the self. Losing these is tantamount to a spiritual death.
So a lot of outdated ruminations on a philosophical level, not to say anything of Rollin's tendency to eventually rationalize the mystifying in a way that, looking back, we can contend ourselves that it all somehow made sense; here nonsense about a nuclear spill and the mind deteriorating on a cellular level.
But the sense of place is occasionally just powerful enough, the emptiness mirrored outside in desolate urban landscapes, that it merits one viewing for fans. You can relax with this, but perhaps a bit too much.