A film is nothing but a puzzle which, by means of superimposition, exploits the inability of the retina to distinguish between separate frames in order to create a seemingly moving image.
Nespolo exasperates this trick of the eye by fragmenting, shattering and, I might even go so far as to say, fracturing his images to create […] a series of visual and sound interruptions cadenced by a convulsive, syncopated rhythm which each spectator experiences as both a voyeur and a fornicator in a kind of infinite coitus interruptus.
Nespolo’s great talent lies in his ability to manipulate those who are watching his work in such a way as to transform them into something else, making them accomplices to the fragmentary emotion generated by the obsessively continuous interruption.
The alternating contraction and relaxation of the retina participates in the vertiginous stopping and starting of the images in the same way that systoles and diastoles alternate to create the heart beat.
The result is a puzzle composed of frames of life.