On the surface is where Rey Parla works to make his movies by hand, based on his physical, immediate response to the scratched/painted layers of his marks on that film. His haptic approach is flexible: it explores the physical character of its objects as objects, not as symbolic representations. This is a distinctly non-verbal approach to making movies. It does away with language in order to document a more immediate, direct encounter with the movie: the many tiny pictures that are the film itself.
