My intention was to give the dreamlike impression of floating through a city full of people frozen in time, caught Pompeii-like, at a particular moment of thought, expression, or activity…a film to be viewed 100 years from now.
Nares fulfilled his intention. In sixteen hours of footage he filmed on Manhattan streets from a moving car with a camera meant to capture hummingbirds in flight or the trajectory of a whizzing bullet, he slowed and edited down to an hour. Each blink of hailing of a cab takes on a holiness. Each hand that nearly meets with a casual swing of the arm is like God and Adam almost touching on the ceiling of the Sistine Chapel.