Austrian experimental filmmaker Peter Tscherkassky inserts Sergio Leone's iconic spaghetti western The Good, The Bad and The Ugly in the meat grinder of his optical printer and proceeds to rip it to shreds and rearrange it back into a tangled network woven with walls of white noise, epileptic negative images coalescing with their positive selves and tiny particles of movement broken out of their proper place and stripped of all direction. What remains is a swarm of splinters, shards of image flying directionless, furrowed with the traces of the manual process of production. Tuco being hanged a thousand times. Angeleyes' telescope burning holes of image in a black frame, out of these holes a face emerging, seeing invoking the object of its desire. Like other Tscherkassky works, it's a painful watch that is guaranteed to make your eyes bleed. It will be of interest to those searching for new ways to dissect cinematic form but I'm not sure about the rest.
