Expressive movement unit 1

The narrow space, played as if it were a theatrical stage (shoveling the grave, in front of the hut), contrasts with the vastness of the acousticially created space. This tension between the acoustic and visual spaces stages an invisible presence. The opposition of increasing dynamization and slowing down creates a connection to this initial tension. By slowing the movement in the frame (stopping while shoveling, the step in front of the door of the hut that ends in an upwards gaze) the dynamic shifts towards the increasing noise and contrasts with the almost frozen upward gazes (ending with the ducking soldiers’ common gaze). Tension is created between the dynamic acoustics and the state of excitement that can be seen on the soldiers' faces in the close space. 

The acoustic potential almost forces a reintroduction of movement into the image. When finally the onset of gunfire leads to a spatial distribution of sound, it resembles the sudden increase of volume at an explosion. In a sequence of shots in which the framing successively becomes larger and the frame takes in more and more falling trees and spraying earth, the explosion spreads. Finally, the staccato of a machine gun is brought into the acoustic foreground and brings together the movement of explosion. Through a point of view shot, it is also given a direction.

This course of events is however again interrupted by an acoustic event (machine gun fire). In the final image of the bullet-ridden body that collapses and sinks into the fog, triumph dissolves.