I have no right to be silent. This is a very ambiguous collection of video information. There is no way to make a silent assessment. Very subtly, the author hints that the lack of attention to the tape, to the Cat, the absence of comments on his work is an undeservedly devoid of direct contact “silent response”, as “mut” “his” passers-by (in this work, direct speech contact of the characters is not directed to the camera, the characters individually carry information about themselves only through their natural everyday image in the crowd).
Very narrowly removed details of urban life, in the depths of which crawl, getting confused in traffic from cars, pedestrians. In the frame fall flaws affecting each other the results of actions. Against the background of political information hides a dark and stormy mass, among all this information nonsense looks suddenly Cat. So I wanted more Cat, so there was only Cat, so cartoonish, with a smile like Cheshire, giving the idea of a possible better version of the future and the present. The cat appeared in the conditions of events. Events are an integral part of the story of the emergence of the cat. Of course, because it is part of the street culture, which is a reflection of everything that happens in the life of an urban. At least not until the authorities mobilize enough forces to keep the walls of the city silently clean. To multiply the silent obedient mass, although the government itself, in the end, obviously, does not have the idea of what this mass is ultimately needed for, and what to do with it (whether to stuff them with a t-shirt, whether to give them a ride in a car or what else, although there is always little and not enough for everyone), because it loses commonality with it. The operator (aka screenwriter, director and editor) passers-by/characters/mass of people is allowed close, and he, having a camera in his hands, albeit a small one, does not cause rejection in them, which is very valuable, and therefore the material has a high cultural significance, since, at frostbite, the viewer can see the video sequence closest to what was received by a real observer. Naturally, in the crowd of protesters, contact is in principle close.
Documentary tape is splashing over the edge.
Even too confusing, deep, and a lot of urban in the frame, because very close to life.
The question remained open: Where is the urban movement going, if the most tender, reactive and bright thing that he had - his street life - was removed from him?
If old man Chris Marker caught this fact, realized and brought it to us, to the masses, and we are now without the Cat, all callous, cold to life and become easier in submission to the management of us from above, then one of the trends actively leads in the direction of increasing the number of strange labor force that has forgotten how to fall in love, draw, sing, dance and dream.