I think, and this is not new, that film is rhythm. For those who confuse this wonderful word with speed, they are going to feel disappointed. Rhythm is contrast, to contrast many things in a "tempo". And the real meaning comes later, after several viewings. Every time the viewer sees a film should discover something new, something that had not seen or heard. The form should be a magical structure, a language outside the content of the film and, simultaneously, a content deeply linked to the story being told. The frame has to give information about the mood of the characters, their world view on their ways ... the frame is, in itself, the dramatic situation. And the actors, actresses, sounds, noise, words off ... Everything else should walk in the service of that frame. That is why, that film is a succession of frames ... One plane after another, form and content at once. The dynamics itself, the constant movement of the frames (but also the frames themselves), form the narrative rhythm. The internal movement, life is the consistent reflection of the frame itself. And the succession of planes, the edition (sweet dance of images and sounds) must form a melody. And that melody, slow or not, stubborn or complacent, awake or asleep, agile or clumsy, should support the history of mankind.