||They develop out of the constellations offered by army formations and the natural hurdles that repeatedly need to be overcome and that provide cover for the enemy, as well as out of the signs of death and exhaustion that nature inscribes in the individual body.
Thus spaces of tension in the cinematic composition develop: On the one hand, the individual soldiers who are moving forward and must maintain a clear view appear to be in an alliance against nature that both orders and destroys nature. On the other hand, nature is portrayed as an agent of chaos, in relation to both the perception and orientation of each individual as well as to the efforts of the corps to maintain the order it needs to remain in action. The audiovisual amplification of this chaotic power is, paradoxically, the event of exploding nature; the destruction of nature by the military’s weapons.
The fundamental ambivalence of this relationship can not least be seen in the fact that the bodies of the soldiers are blend into the natural scenery for protection and camouflage, but exactly this process of the blurring of the margins of physical entities is staged as the focal point of the threat, the point of vulnerability and exhaustion.