The Ruins of a Film

(…) Two decilitres of lousy vodka… along the way… in the forest, without witnesses, in two sips (…) Immense brightness and joy… everything is clear, glorious and I don’t care, it takes half an hour, after which the wide angle of the cinemascopic 35mm shutter starts to narrow to 16mm film, still in colour, but all of us ABSENT know what and how it ends. It ends at 8 millimeters, 12 frames per second at most, the picture fades, then a well… (…) Two decilitres of lousy vodka… along the way… in the forest, without witnesses, in two sips (…) Immense brightness and joy… everything is clear, glorious and I don’t care, it takes half an hour, after which the wide angle of the cinemascopic 35mm shutter starts to narrow to 16mm film, still in colour, but all of us ABSENT know what and how it ends. It ends at 8 millimeters, 12 frames per second at most, the picture fades, then a well… (…) Two decilitres of lousy vodka… along the way… in the forest, without witnesses, in two sips (…) Immense brightness and joy… everything is clear, glorious and I don’t care, it takes half an hour, after which the wide angle of the cinemascopic 35mm shutter starts to narrow to 16mm film, still in colour, but all of us ABSENT know what and how it ends. It ends at 8 millimeters, 12 frames per second at most, the picture fades, then a well… (…) Two decilitres of lousy vodka… along the way… in the forest, without witnesses, in two sips (…) Immense brightness and joy… everything is clear, glorious and I don’t care, it takes half an hour, after which the wide angle of the cinemascopic 35mm shutter starts to narrow to 16mm film, still in colour, but all of us ABSENT know what and how it ends. It ends at 8 millimeters, 12 frames per second at most, the picture fades, then a well…