paul a.’s review published on Letterboxd:
"Equally as impressive was the anchor for the night, Undertow (2019), which plays with spatial and geometric dimensionality as it applies to movement in a visually clever manner, one similar to a great many of Gehr’s works which reveal their true nature at about the halfway point of an attentive viewing. Here, we have another “static” image of sorts: a digital camera has been placed on the back of a vehicle, one which traverses through an undisclosed rural terrain, right through a bustling cityscape, and back across more terrain. It eventually inverts back, but the camera never moves from its starting position; instead, the automobile keeps progressing forward, reversing at the halfway point with an effect that has been applied in post-production. This extended eastbound movement has been flipped on its side, in a literal fashion: one on the left of the screen, one on the right of the screen, and the two identical films symmetrically meet in the middle of the flattened three-dimensional image, creating a free-flowing sensation of disorienting weightlessness in the process."
wrote about mark mcelhatten's carte blanche 4 mubi notebook here.