The film sees a businessman (the Soho Eckstein figure from Kentridge's earlier films) standing on a hotel balcony watching the waves. Time passes, as the sea rolls back andforth in endless repetitions. We as viewers observed from his point of view. Then the scene shifts to a large drawing of a man, still in his business suit but now alternately sleeping and reading a newspaper at the water's edge in a deck chair. The drawing is folded into a series of images that provide a visual mediation on time's passage, on industry, on ildeness. Kentridge's work is often densely allusive, and here the film alludes to the Old Testament. The artist expressedly indicates that biblical accounts has informed his thinking. It is what he refers to as being 'over-determined' in that the motif arises from several distinct sets of meaning.
More movie trailers, teasers, and clips from Tide Table:
Kentridge's 'Tide Table' with live performance scored by Philip Miller
Clip of 'Tide Table' (2003) the final film in Kentridge's 'Soho Eckstein' series of nine films with a live performance of Philip Miller's score by the Archimia Quartett ...
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