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The camera feels its way excruciatingly slowly through photos of buildings. Coming to terms with the impressions made on the maker during a stay in Palestine.
The master investigates the vague boundaries of documentary practice. Five scenes, five lengthy registrations, no actors, no script. Light, airy meditation, with dogs, ducks, water and nature sounds.
For Fossilization D'Haeseleer used video as a kneading machine. Layers of images are moulded into a sticky mess that absorbs and attracts everything it touches. It's an apocalyptic endgame, starring several cars and some human remains and maybe even some wishful thinking on a moody, rainy day.