As in Signal, Gehr is fascinated by the number of ways in which a site can present itself to his lens, its monocular view proving anything but an analog for everyday vision. Seeing, Gehr’s films reveal, is the sum of so many fragments, the camera less a nimble tool than an awkward prosthesis, everywhere announcing its presence.
Gehr shot the film without permission, often being asked to leave despite his attempts at hiding his 16mm camera. The surviving footage melds together to orient, reorient, and disorient the city of Hitchcock into its base lines, angles, colors, shapes, and movements. Gehr’s 41-minute film acts as a masterful yet puzzling tour guide to one of cinema’s most mysterious cities.