"Kelek is Nekes' first film with a story. It is the story of a consciousness. This consciousness is concerned with only one thing: with seeing. Seeing is the topic of the film." (Wim Wenders, Filmkritik 2169, S.113)
"KELEK belongs to the 'structural' or 'minimal' cinema movement in that its content is subordinated to the viewer's perception and has no intrinsic significance. Unlike most examples of this genre, though, KELEK is never boring and is brought to a new awareness of the process of perception. The five basic shots of the film have to be filled by the viewer's own consciousness and there is absolutely no opportunity given for any spurious identification." --W.N.
"KELEK is a regular film. There's no more 'in that place' or 'in that scene' ... KELEK is a film
which moves exclusively on one level, that of seeing."--Wim Wenders, Filmkritik, February 1969.
"Werner Nekes is making the films that those who oppose their radical pronoucements to his radical aesthetics ought to be making, and yet are not." --Frankfurter Rundschau.
"Werner Nekes seemed to me the most important member of the Hamburg group; very preoccupied with form, with movement, with structure ... KELEK deals with shape, movement. The camera is steady, focused on a detail, a bridge, a street; the progression is slow, careful, calculated, abstract. A very pure visual music was coming to me from his film."--Jonas Mekas, Village Voice.
(Aus: filmmakers cooperative catalogue No. 7)
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