Glissando

The film does not use any specific expressive means to communicate with the viewer in a privileged manner but instead addresses the viewer as a whole. If no single approach (the plot, the blurring of the boundaries between dream and reality in the main character, allegory of fascism through social institutions, etc.) can dominate the others, "only" the whole remains - the all-pervading atmosphere. The atmosphere of the film perfectly imitates a slowly decaying, vain, self-destructive, unnecessary fascist society on the brink of war. Just as the atmosphere gradually penetrates each cinematic shot, from the more "realistic" ones to the delirious ones, so too does the stagnant, putrid hospital water gradually seep out into the world - casinos, streets... The significance of the work lies in the fact that the viewer, often "not understanding" the specific events and necessarily being uncertain about the many symbols that Daneliuc places on the film screen, understands the same events thanks to the atmosphere they emit and through which they connect (and retroactively strengthen) with the film as a whole. (2015.05.14)