Three parted, like the immortal Begone Dull Care. Though McLaren often does it, he obviously doesn’t need to: Synchromy has no anthropomorphizing at all. Rather, the interest is in figuring out the meaning, or maybe the method of those flashes falling through the frame. When you do—this is the score, filmed; the bigger the object, the lower the pitch—it’s kind of exhilarating, and a clear hint at the other-than-story satisfactions that are available to film viewers. The electronic music and the flash images make this film very much of it’s synthesized time, but the musical virtuosity, the sheer number of visual/abstract elaborations, and the satisfaction McLaren takes in showing us how it works makes the film so much more than time-specific. It is that satisfaction that ultimately carries the day.