The film establishes an off-kilter quirkiness which I found quite striking, right from its opening bout of sweeping, disjointed narration, the spoke piece, a poem of sorts seems to allude to quality in the selected footage which is both fundamentally absract and universally relatable. While indeed, no real sense of narrative or purpose is imposed on the film’s footage, the daily activities and interactions it depicts serves in some areas as a time capsule to the era and place the film was shot and in others as a reminder of the behavouiral commonality shared by humans across countries, generations and periods of time. It is interesting to note that the films rambling, at times erratic score seems to dictate the mood of the piece rather than the events depicted on screen, this was particularly notable to me when an old woman greeted a little girl in communion robes to a somewhat sinister score. While it bares little value with regard to the film’s analysis, I could not help but note Ravel’s fixation with a certain subject, a man handing out flyers on the street, seeing him incorporate various shots of the man into several sections of the film. As the film progresses, musical changes become increasingly rapid, changing shot by shot, I might note that the notion of a ‘shot’ as it is appearant in this particular sequence is significantly longer than that which i would associate with a high action scene, lingering static as it so often does in order to avoid disrupting a sense of verité which is established through Ravel’s voyeuristic shooting style and content selection.