An impressive study of symmetry and superimposition, and of optical printing too. As with a number of avant garde films, the gradations of representation and abstraction are given a special pop and interest when the represented/abstracted object is an unclothed female body. Is O’Neill trying to make some futurist point by juxtaposing the oil pump and the dancer? Doesn’t matter so much, maybe. As with a number of avant garde films, my own connections are as valid as their intentions. In fact, my connections often are their intentions.
Films like these require either intense concentration or a short duration. In this case, or on this viewing, I fall short more than the film does.