CINEOSIS · in the crash lab

1 So · Solid perception — 5 shots, 326 frames; worlds: so1.
The perceiver is made by alternation: her eyes (eyelid mask, her own body removed) and then her body held at the hub while the others orbit. Critic: WEAK, last third lost the privileged body. Repair: ends held on Bola at the hub, then back to her eyes.

2 Lq · Liquid perception — 1 shots, 360 frames; worlds: lq1.
No cut at all: the camera's target is handed from Bola to Shim to Dot with a 2-second blend, so each centre forms and passes on. Critic: WEAK, scale jump read as a cut. Repair: camera height locked; one unbroken move.

3 Ga · Gaseous perception — 2 shots, 246 frames; worlds: ga1.
Nine windows at different speeds, directions and scales; the walking body is one panel of nine, then one layer of three. Critic: MET, final layer centred the body. Repair: body layer offset from the clock.

4 Ic · Icon — 3 shots, 278 frames; worlds: ic1.
The candle is never shown, so there is no reverse shot to turn the face into information. The push-in ends on a hold past the point of information. Critic: MET, opening wide situated the face. Repair: opens on the face.

5 Dv · Dividual — 9 shots, 351 frames; worlds: dv1.
The wave of surprise is timed by each extra's position, so it travels as one affect. The single face comes last and carries the group. Critic: WEAK, ended on one face. Repair: ends on a pan across the whole crowd.

6 As · Any-space-whatever — 3 shots, 300 frames; worlds: as1.
The film starts after the only person has left: rain, fog, light and fallen things, with the grid of the lab dissolving. Critic: WEAK, exit beat read as narrative. Repair: starts after he has gone; denser fog.

7 Sy · Symptom — 5 shots, 269 frames; worlds: sy1.
The act comes before any plan: a sniff, a snap lunge, eight bites with the head driving into the food. Low, shaking, red. Critic: WEAK, act occluded. Repair: two-shot of the devouring and the recoil.

8 Fe · Fetish — 3 shots, 264 frames; worlds: fe1.
The camera never leaves the object. The hand enters its frame and stops short, so the charge is measured by a gap of a few centimetres. Critic: MET, charge rested on the glow alone. Repair: glow flares at the near touch.

9 Or · Originary world — 4 shots, 413 frames; worlds: or1.
The place is shown before and after the figure and the last shot repeats the first: the ground outlasts the body that crosses it. Critic: MISSES, no pull of the ground on the body. Repair: he sinks into the mud and is gone; fences fall.

10 Il · Index of lack — 6 shots, 323 frames; worlds: il1.
The gap is a crate that twitches. Her own action (lifting it) is the disclosure, and the disclosure turns her from search to care. Critic: MET, reorientation soft. Repair: kept.

11 Ie · Index of equivocity — 5 shots, 420 frames; worlds: ie_a, ie_b.
Two worlds identical except for the onlooker. The gesture is filmed only once, then shown beside both of its situations, and neither is chosen. Critic: WEAK, second situation not legible. Repair: split panels reframed so the onlooker is clear.

12 Ve · Vector — 6 shots, 439 frames; worlds: ve1.
Every shot is tight on one thread. The single wide shot comes last and draws all three paths on the floor as one broken line. Critic: WEAK, strands disclosed by lines, not by people. Repair: kept; the critic misread the key as a box.

13 Mi · Milieu — 4 shots, 333 frames; worlds: mi1.
The first image is the whole situation from high and far; the camera goes down to the people only after, and climbs back out. Critic: MET, no date or place. Repair: kept.

14 Bi · Binomial — 16 shots, 331 frames; worlds: bi1.
Shot lengths fall from 30 frames to 6 as the two close in; the only two-shot is the meeting at the line. Critic: WEAK, push read as a handshake. Repair: strain and shiver on the push.

15 Im · Imprint — 8 shots, 347 frames; worlds: im1.
Cup, face and passers-by are cut in a tightening loop, each insert closer than the last, so the pressure is visible before the release. Critic: WEAK, release too small in stills. Repair: the throw is marked.

16 Pl · Plastic figure — 5 shots, 286 frames; worlds: pl1.
The fight itself is never shown. The shoved table, the cup breaking and the candle going out stand in for it. Critic: MISSES, insert unreadable. Repair: cup insert legible; the exit is not shown.

17 Th · Theatrical figure — 5 shots, 378 frames; worlds: th1.
The fight is staged twice as theatre (swings that never land, hits that are acted) and the real confrontation is deferred into a bow. Critic: WEAK, no real action outside the show. Repair: kept (disagreement: the bow is the deferral).

18 Ma · Mise en abyme — 3 shots, 302 frames; worlds: ma1.
The screen shows the shot itself, five levels deep. The camera pushes into the screen until the frame and the framed swap. Critic: WEAK, push-in stopped short. Repair: push continues until the screen fills the frame.

19 Su · Figure of the sublime — 4 shots, 499 frames; worlds: su1.
The camera gives the climb the full heroic treatment (low angle, slow motion, a gong); the last wide shot shows the puddle it was all for. Critic: MISSES, trivial need not shown. Repair: the puddle is shown first and last.

20 En · Figure of enfeeblement — 2 shots, 481 frames; worlds: en1.
She is a speck at the edge of the frame for the whole sign, and the second shot is wider still. Her acts change nothing in it. Critic: MISSES, no act. Repair: three failed pushes against a crate; the frame keeps widening.

21 Qu · Quotidian — 1 shots, 400 frames; worlds: qu1.
One static take of 17 seconds. Only the light outside the act changes, from morning to evening. Critic: WEAK, not heroic. Repair: kept.

22 Ll · Limit of the large form action-image — 3 shots, 332 frames; worlds: ll1.
The camera circles 180 degrees while the fighters stop, so their sides swap on screen; the action is delayed into a question and then an offered hand. Critic: WEAK, question not drawn from the milieu. Repair: kept.

23 Ls · Limit of the small form action-image — 3 shots, 361 frames; worlds: ls1.
Two lines in split screen; the one wide shot shows them crossing the same mark at different moments, and the split resumes as if nothing happened. Critic: WEAK, shared shot gave an answer. Repair: kept (disagreement: the operation asks for the shared moment).

24 Xl · Limit of the action-image (extreme limit) — 3 shots, 316 frames; worlds: xl_a, xl_b.
Both modes are shown at once, then laid over each other, then the bodies are removed; what remains is the box and the question. Critic: WEAK, the ? stated the enigma. Repair: ? removed.

25 Rd · Rich dream — 6 shots, 463 frames; worlds: rd1, rd2.
The entry is a wavering dissolve from a sleeping face; the dream uses kaleidoscope, rotation, reversed superimposition and colour; the exit is a white flash onto the same bench. Critic: MET, exit weaker than entry. Repair: exit mirrors the entry: wavering dissolve onto the face.

26 Rs · Restrained dream — 3 shots, 278 frames; worlds: rs_a, rs_b.
Straight cuts on an unchanged camera: the switch to the dream world and back is invisible. Only the cup that stays in the air and the clock running backwards mark it. Critic: WEAK, impossibility too small. Repair: the released cup slowly rises.

27 Mw · Movement of world — 5 shots, 388 frames; worlds: mw1.
Bodies, furniture, lamp, ball and clock share one beat, and the camera sways and cuts on it too. There is no entry, no exit, and nobody watching. Critic: MET, dancers move themselves. Repair: kept.

28 Sd · Strong destiny — 5 shots, 434 frames; worlds: sd_p, sd_f.
Hold on the face, a wavering dissolve to a sepia past (the knock and the broken cup), a wavering dissolve back, and the past drives the next act: she points at him. Critic: MET, no affect beat on return. Repair: face close-up on return.

29 Wd · Weak destiny — 7 shots, 450 frames; worlds: wd_p, wd_m.
Fragments of a farewell are cut in without any marker, from three positions, and stop before the letter is read. The present shot outlasts them and nothing happens in it. Critic: WEAK, fragments unmarked. Repair: stronger faded grade and grain.

30 Fp · Forking paths — 5 shots, 500 frames; worlds: fp0, fp_l, fp_r, fp_r2, fp0b.
The frame splits at the fork and splits again inside one branch; the last shot returns to the fork with one thing changed (a hat), so no branch is the true one. Critic: WEAK, forks not marked as past. Repair: kept (disagreement).

31 Mk · Mark — 4 shots, 357 frames; worlds: mk1.
Three identical terms in the same framing, each closed by the bell; the last shot is the cup alone, waiting for a fourth. Critic: WEAK, no inference shown. Repair: final hold on the three coins in the cup.

32 Dm · Demark — 7 shots, 343 frames; worlds: dm1.
The series is set up at speed; the fourth term is a known term that cannot be there: a second Bola while the first is still in the room. Critic: WEAK, aberrant term missed in stills. Repair: longer hold on the two Bolas.

33 Sb · Symbol — 6 shots, 336 frames; worlds: sb1.
The key is centred in every shot: a gift, a lock, a theft, a placement, a gathering. The one object carries several relations at once. Critic: MISSES, object never isolated. Repair: ends on the key alone, no hands.

34a Op · Opsign — 2 shots, 371 frames; worlds: op1.
Three long static views: the man from behind, his face, the window. No score, no cut on an event, and the look never turns into action. Critic: MET, empty window; face insert. Repair: rain on the window; face insert removed.

34b Sn · Sonsign — 3 shots, 276 frames; worlds: sn1.
The image freezes, then goes to black, then shows an empty corner, while a piano phrase repeats from somewhere. The sound is the situation; nobody answers it. Critic: MET, opening walk told a story. Repair: opens on the frozen listener.

35 Mf · Mirrors face to face — 2 shots, 301 frames; worlds: mf1.
Real reflections, five deep, each a few frames late; the second mirror lags further, so the copies no longer agree with each other or with her. Critic: WEAK, one double only. Repair: mirrors face each other; a receding, lagging row.

36 Lo · Limpid and opaque — 1 shots, 260 frames; worlds: lo_r, lo_p.
Rehearsal and performance of the same gesture are crossed so that one clears as the other clouds; by the end both are on screen at once and neither is the original. Critic: WEAK, whole-frame switches. Repair: one continuous exchange.

37 Se · Seed and environment — 5 shots, 483 frames; worlds: se1, se2.
The globe contains the world with the rain, the world contains a globe that contains the girl looking into it; the camera passes into each and comes out where it began. Critic: MET, cut into the world. Repair: kept (the push fills the frame before the cut).

38 Pp · Peaks of the present — 4 shots, 482 frames; worlds: pp_a, pp_b.
The same moment is shown twice with different outcomes, then side by side, then superimposed. No flashback frames either one, and neither is ranked above the other. Critic: WEAK, read as alternate takes. Repair: kept (disagreement: incompossible presents).

39 Sp · Sheets of the past — 4 shots, 529 frames; worlds: sp1.
One unbroken track through three rooms that coexist; each room keeps its own period in the grade, and the camera passes between them without a cut or a narrator. Critic: WEAK, linear order. Repair: cuts back through the rooms out of order.

40 Pf · Powers of the false — 7 shots, 290 frames; worlds: pf_b, pf_c, pf_a.
The speaker changes in mid-sentence while the gesture and the voice carry on; one cut is mirrored, and in the final three-way split one of them runs eight frames late. Critic: MISSES, testimony only. Repair: kept (disagreement: the test allows testimony passing between bodies).

41 Ba · Bodies of attitude — 4 shots, 393 frames; worlds: ba1.
Long static frames of three postures of waiting: slumped, leaning, fidgeting. Nothing is being prepared; the posture itself is what the shot holds. Critic: WEAK, faces carried the content. Repair: full-figure framing.

42 Bg · Bodies of gest — 2 shots, 450 frames; worlds: bg1.
Four identical rounds of bow, stamp, bow, staged frontally like a ceremony. In the last shot the stamping goes on while the clerk who does it fades out. Critic: WEAK, gesture buried in bodies. Repair: side view of the counter.

43 Br · Cinema of the brain — 2 shots, 361 frames; worlds: br1.
Shot from straight above, the floor reads as a diagram that draws itself. The figures move along its lines like steps of a thought, and nodes light where they arrive. Critic: MET, diagram became a route. Repair: kept.

44 Le · Lectosigns — 19 shots, 642 frames; worlds: so1, mf1, br1, ga1, ic1, bi1, sy1, mk1, qu1, th1, sb1, op1, rd2, sp1, as1, ma1.
Unlinked fragments of the other signs, single words, black frames and a nine-way split, with no rule given for joining them. The table appears without a title, made of frames from all forty-five pieces, and the film ends on a fragment after it, not on the table. Critic: MISSES, the table read the film. Repair: table untitled and not the end.