the novella count from zero to one hundred by Alan Cunningham is written as a series of prose fragments, fluctuating from conversation to philosophical reflection in an anxious stuttering staccato, as its narrator moves across some of the great cities of the world.
the film, based on section 2 of the novella, illustrates in a succinct visual language that mirrors but does not ape the equally sparse language of the book.
the dangerous but understandable desire for a sense of ourselves in our own bodies, afraid of and unresponsive to touch, damaged perhaps, in ways only hinted at. it ends, however, having communicated a sense of the always enduring potential for – perhaps even need for, however damaged - touch and openness to an equally dangerous but joyful intimacy.
CONTRIBUTED BY MIMI ATOR