Schmid focuses upon the filmic dispositive as an interrelationship between the filmic work, its production and reception within the context of media history, and she frames this in new terms. The film not only constitutes the recording of a landscape but also a documentation of artistic intervention. In midst of trees and bushes the camera reveals a CinemaScopic movie screen the filmmaker placed in a poetically sparse Lithuanian costal landscape for nature to casts its play of light and shadow upon over the course of a day. (Bettina Brunner)