Hurrycan
"Like almost all Nekes films, his latest Hurrycan has no plot in the sense that a continual message is conveyed. Rather the problem of movement in film as such is thematized. The film is composed of short scenes, for instance a man chopping wood, a woman on a couch and a man walking around her, a naked/semi-naked, simply filmed in the usual way. What the audience actually sees is a rush of pictures visible only for split seconds and showing, for example, the man chopping wood in a variety of facets. Having grown accustomed to this technique, after quiet contemplation the viewer perceives these pictures merge to form a new, animated whole.
This quick sequence of interlocking, temporally dislocated images results in a new unity. The woodcutter, for instance, lifts his axe while at the same time one sees the wood splintering apart. These pictorial units do in fact have a calming effect throughout the film, calming and relaxing, but fascinating as well, an effect which is underlined by the ease with which scenes are performed and by the music reminiscent of ragtime and of the piano music which accompanied movie performances in the 1920s.
Technique is as important for Hurrycan as plot for an adventure film, a technique the knowledge of which is prerequisite to understanding the film. Whereas in his previous films Nekes cut the material mechanically after shooting and rearranged it in a certain order (this is of course the usual procedure), his new filming technique in Hurrycan has made cutting superfluous.
...Hurrycan was shot in six days. With traditional techniques five cutters would have been busy for about three years." (Albrecht Osswald, De Schnüss, Bonn, June 1979)
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