Workshop 20

In "The Lead Shoes", we can neither thrust in our eyes nor our ears to help us understand how time flows or how space is. Therefore, Peterson forces us to take both space and time as relative experiences. The consistent disorientation in the film and our consistent inability to perceive them in absolute terms become the main subject of the film. Peterson makes us aware that space and time are more complicated than we think they are and they should be experienced in a more open-minded way. —Yoel Meranda

Peterson based this romantic piece on Balzac’s Le Chef-d'oeuvre inconnu and Picasso’s Minotauromachie. The film combines a story of the competition for the love of a woman with images of a young girl with a candle wandering through a corridor, a modern adaptation of the mythological Minoan labyrinths.

Chases within chases. A mother runs after a child. A man seems to be pursuing himself. A woman who has been nibbling her lipstick through half of the film is pursued by a man. Scrambled Alice in Wonderland with brutiste soundtrack. The pursuit of art is represented by a painter daubing at a landscape in an empty frame.