Snow’s Wavelength makes a curious demand of its audience. In contrast to those who would locate the film’s radicalness in a sort of heightened formalism, an obdurate effacement of narrative and subject, I have noticed, in my repeated viewings, a certain suppleness to the film which— almost nauseatingly— implicates the viewing subject. Snow does not appear to dispense with the narrative question in this film, so much as he spatiotemporally reconstitutes it. Space and time are no longer simple givens;…
