Deconstruction, a term still fashionable for describing the methods of experimental film and evaluating its result, always promises a lot and often delivers too little. But in the case of Nana Swiczinsky’s Lezzieflick a positive relationship to the postmodern comes to the forefront: as though effortlessly, the film presents the results of a (foreseeable) failure in the search for depictions of women’s erotic relationships among general stocks of images. Women’s clichés from picture agents and porno posters are found, a discovery that at first glance is not very amusing: Dull, pale, pixel-filled images of rigid women’s poses on the telephone, during a massage, having sex. However, by means of a morphing technique, with her usual sovereign handwork Swiczinsky creates a movement in these flat pictures that delves their depths.

Not only do the lips, fingers, and fists of the women move into one another and in succession, the pictures create spaces, as it were. These spaces arise, technically speaking, in a complex compositing process: several motifs are superimposed in one image, placed in one view. Yet aesthetically speaking, Swiczinsky generates these spaces through her confrontation with the diagnosis of a pictorial non-site (of lesbian sex, of women’s love); the spaces in Lezzieflick are other spaces, heterotopes, impossible possibilities. Flashing (flickering) in Lezzieflick’s preliminary pictorial spaces is that which in the found material of journalistic clichés and jerk-off magazines is tightly lashed down and excluded: An outcome that one can only hope to achieve in any attempt at deconstruction. (Andrea B. Braidt)