Within the chambers of a desolate house, a solitary servant tends to his invalid master. Tangibly detailed period design and hauntingly lifelike puppetry unearth the dreamworld of Poe.
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Young paramedic Ollie Cross is partnered with experienced medic Rutkovsky, who thrusts him into the harsh realities of New York’s inner-city streets. Amidst high crime rates, homelessness, and widespread drug use, Ollie finds his perspective on life and death beginning to shift.
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The apparent vertical scratch in celluloid that opens Presents literally opens into a film within the film. When its figure awakens into a woman in a ‘real’ unreal set, the slapstick satire of structural film begins. It is not the camera that moves, but the whole set, in this first of three material ‘investigations’ of camera movement. In the second, the camera literally invades the set; a plexiglass sheet in front of the dolly crushes everything in its sight as it zooms through space. Finally, this monster of formalism pushes through the wall of the set and the film cuts to a series of rapidly edited shots as the camera zigzags over lines of force and moving fields of vision in an approximation of the eye in nature. Snow pushes us into acceptance of present moments of vision, but the single drum beat that coincides with each edit in this elegaic section announces each moment of life’s irreversible disappearance.
