Silence dominates the work, as does the screen rectangle, which cuts off the “image” from a life time-space continuum and imposes upon the image its particular character. Within it, there is a play between tonalities, textures, large and small shapes.

"Table, shot in 1976 is the celluloid equivalent of a cubist Still Life. The subject is an ordinary kitchen table, a homely clutter of crockery and utensils. For 15 minutes, Gehr alternates two slightly different fixed points of view, accentuating individual shots through the use of blue and red filters (and sometimes no filter at all). This simple if painstaking procedure transforms the image into a stuttering hypnotic shuffle. Difficult to take in on a single viewing, Table improved with familiarity. As one learns how to look at it, one’s eyes wander around the frame to savor specific details. Some objects appear simultaneously in 2 positions, others flex their shimmering forms or collide with their neighbors, while a few barely seem to 'move' at all." - J. Hoberman

There’s a helicopter and some birds.

"This is a film that not only documents a place in time, but a modern spatial vision, a look and technology that makes this street the sort of place it is. And here in this preserved piece of history, one also sees the chemical dance of film grain that makes up the material of Gehr’s own History. We do not simply see Market Street circa 1902, but a film of Market Street, and it is as fascinating as the site itself. Film may in some sense exist indifferent to emotions, objects, beings, or ideas. But early in his work Gehr realized that film, even conceived as a thing in itself, can never exist outside of history. The very dance of grain on the screen acquires a history of its production, its screenings, its viewings. History is the place no place can avoid.” - Tom Gunning

“STILL is for me the first truly Proustian film in which I see mood and atmosphere seem to become slowly crystallized on particular objects – as if the whole framed scene and its mood slowly coagulates into – for instance – the mysterious recesses of the lush foliage of the tree across the street which the breeze lowly stirs… The moving and remarkable thing is that in this fifty-odd feet of New York city street front that we view for sixty minutes, nature and dreams of the forest and sky and wind and wilderness end up being more forcibly present than in any film about nature and forest and sky, etc.” –Richard Foreman, FILM CULTURE #63-6

导演把一个室外的玻璃电梯变成了一个眩晕的运载工具。

1970 film by Ernie Gehr