These evidential images provide a midpoint between knowledge and history, and between a subjective and objective truth. This is the framework for Loznitsa’s archival cinema: a kind of foundation on which we can build a better understanding of the world.
Isabella has films within films, plays within plays, and people within people. As in its central mise en abyme, the director creates an abyss of rhyme and recurrence. His mode of adaptation works reflexively, where these layers upon layers lead to a sense of collapse.
Color is dulled entirely, and reality, visually and morally, appears black and white. When the world is reduced to such simple terms, all that's left is for you to hover your crosshair over that burning target and pull the trigger.
It is not interested in the hospital as a site of sickness. Tortum’s documentary is concerned with workers—the human element that can transform the moribund into a “festive” feeling—following the daily doings of surgeons, nurses, janitors, dieners, students, and professors.