SECRET STRIKE (Museum van Gogh, 2005)
In Secret Strike the camera moves around the immobile figures and slowly approaches them in open-ended sequences of shots, which favour the transition from one space to another. The content of all the films received the same hierarchical treatment, similar photography and similar treatment of detail. Moves are slow and silent, as if the normality of the scene could be altered. Even when the human activities have been paralysed, time has not stopped. And there is plenty of evidence for this, which Framis deliberately intensified in the film footage: a flickering light, a telephone ringing, an automatic door opening, the steam from a machine and so on.