An interplay between the different planes of depth delineated onscreen creates a tunnel effect that makes the audience feel like they’re being pulled on a roller coaster ride into the image, giving the illusion of three dimensions.
What he creates in this, and other early works, is a sense of the uncanny within reality. The images appear to almost endlessly, and seamlessly, fit inside one another so that we, as viewers, repeatedly look, explore or perhaps fall into the same space. The effect is mesmeric and one of the most remarkable cinema experiences this, or any other festival, could offer on a big screen.
Perpetually in motion, Spacy becomes a continuous loop, whose dynamism grows increasingly overwhelming as Ito carries out every possible permutation of his scenario, multiplying the number of easels, pivoting the camera as it hurtles towards each image, reversing the motion of the camera, and even placing some of the images on the floor of the court. The result is a profoundly disorienting and space-defying film that systematically calls into question the nature of every image.