Reviews (1)
The film tells us something about cinema, but also about art as a whole. The classic thesis about a work of art is that its individual parts are interconnected, relying on each other to form a cohesive structure that can be more than the sum of its parts but should not be less than this sum (otherwise it is a bad work, a postmodern broken mirror with only shiny shards left). 31/75 Asylum proves to us how individual point fragments taken from something as uniform as a static landscape painting can also function as a whole in a completely different work - a square of winter snowscape transferred to the spring creates a pleasant reflection of light, now suddenly we have an idyll, etc. In addition, the black masks covering the whole for most of the time and separating individual points have the effect of making it even more impossible to find a definitive image of the entire landscape (not only spatially but also temporally fragmented) - the whole is thus determined only at the end, firstly when Kren reveals his film material to us, but mainly when the viewer himself composes the whole in his own imagination.
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