“In Sotiros, there is an unspoken dialogue and a seen dialogue. The first is held between the inter titles and the images; the second is moved by the tripod and by the emotions of the filmmaker. Both dialogues are interwoven with the sunlight’s movement as it circles the room, touching each wall and corner, detached and intimate”. “The spectator must discover why an image was chosen to be represented; the silence of such a discovery becomes a moment of release. It is not the film maker’s work to tell you: his work is to make the film and to protect what he does, in the serenity of a thought without words, without the quality in words which would destroy what he intends to represent. The point from which to begin then, is with the eye of the spectator, the first sense, and proceed to the others, as he recognizes the presence which becomes awareness. This is not a matter of understanding a film’s content in one way or another; rather the viewer creates an order within himself, and this order is as conscious as Language”. (RB)
