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This photograph is the target for the relentless, oncoming zoom, which is an abstract corollary of photographer Hemmings’ concentrated gazing at the print mutations on the Blow Up murder photos. An unexplained murder occurs, the camera dissolves itself into a moody, turbulent photograph that is obsessively present but not immediately discernible. So integrated, taut, fully realized, not like an idea suggestion someone could pick up and use, in one aspect the minimal project picks up the Blow Up theme.

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Probably the most rigorously composed movie in existence, the film is a continuous zoom towards the lineup of windows and the complex of signs, tops of trucks, second-story windows outside the loft. Maybe if all moviemakers worked as directly and simply, leaving out the literary and commercial hangovers from the days of Cecil de Mille, other film content than this one white room would possess a startling freshness. For all of the film’s sophistication (and it is overpowering for its time-space-sound inventions) it is a singularly unpadded, uncomplicated, deadly realistic way to film three walls, a ceiling, and a floor. Michael Snow’s Wavelength, a pure, tough 45 minutes that may become the Birth of a Nation in Underground films, is a straightforward document of a room in which a dozen businesses have lived and gone bankrupt.

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The back wall is brick, but it has the same transfixing green-tinged grey paint plus that eye-level line of coat hooks that American architecture should never have given up. Exactly like the interiors of schoolrooms in Winslow Homer, it has a magical plain grey color and an equally magical pattern of woodwork on the side walls, four inch boards running horizontally from floor to ceiling, divided by four inch studs spaced two feet on center. A bare and spare room with the simple construction of a Shaker-built outhouse, the gallery room had an austere charm, a continuing dignity, even after twenty films had been seen. The best film at “Canadian Artists ’68” is a study of a room not unlike the basement room at the Art Gallery of Toronto, where the films were privately shown.