The situations depicted, and the manner in which Clark depicts them, serve to narrow our perception of areas that could conceivably engulf us. So it's human attention that gets in our way of more vast experiences, even as Clark's manipulations make it virtually impossible to "get out of our own way."
On a single pass it’s difficult to figure how each movement speaks to one another, but Clark’s confidence in piecing together such seemingly disparate episodes is one of the things that makes her work so rewarding to reconsider.
The sum total is as allusive as each individual component seem to be, and I was drawn to the film’s lucid, spare tension between things, whether between oneself (like the person's hands and the solo-sung, first person mantras) or between others (tennis matches and the flag). I can honestly say I really don’t understand either what it “meant” or what it was “doing,” but often that is one of the rarest and greatest pleasures of art, isn’t it?