Rear Window (1991)

A view from a Brooklyn apartment sublimates Hitchcock’s voyeurism into a frenzied engagement with the visible. The film varies exposure or racks focus so that the flickering, spatially ambiguous patterns that press the limits of the frame momentarily dissolve themselves as tree branches or a fire escape or a shadow caught on the screen of someone’s laundry rippling in the breeze. ‘I cupped one of my hands in front of the camera lens and attempted to make tactile to myself light, color and image,’ Gehr explains in his notes, linking the film to his father’s death and calling it a ‘hopeless attempt’ to render the ephemeral tangible.