Gertrud renounces external eventfulness
in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a
way to allow viewers to focus on
acting and the body rather than on technical formalist tricks,
in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a
functional recording - device rather than as an originator of instant meaning and knowledge as
in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved,
in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.