It's an imperfect film, and an imperfect application of 3D, but within the space of The Guests (who are the real guests?), these imperfections point to a strange alternate dimension of images. How far can we stretch an image to find more within in it?... The film forges new space in this century+ old work, re-birthing cinema, and re-contextualizing the ontology of moving pictures.The Guests then, is yet another journey, one towards a future that requires us to first travel to the past.
Viewing this antique footage with a 21st century makeover — creating an innovative link between the beginning and "end" of cinema — makes for a challenging, but extremely satisfying visual treasure hunt where these jolly, dolled-up figures begin to take on all manner of ghostly forms.
The Guests is not, like Wire Fence, an engine for frustration or eye-straining perceptual work. Instead, it’s a sort of cinematic equivalent of a literary explication de texte—an exercise in which a single, brief work is made to expand, undulate, deepen, and shift shape simply by virtue of being looked at unblinkingly and at length.