"[..] Yet, all too often, the attention on Slow Cinema stops exactly there, however; the use of long‐takes, or its relative slowness. The danger with this, and indeed with using the term Slow Cinema is that it limits the view on the phenomenon. It focuses almost exclusively on time in film; a debate which is usually aimed at opposing popular film and art cinema. This view neglects several intriguing aspects, which add to the special experience of slow films, two of them being the art of minimalism and the use of location. [..]
Characters tend to communicate by means other than the spoken word. It is about body language first of all. But their behaviours, actions, and decisions equally add to an almost mute narrative. If dialogue is present it often merely functions as verbal wallpaper, or everyday chitchat. [..]
Nadin Mai,
The Aesthetics of Slow Cinema – CMC RPG Conference, University of Stirling (4 December 2012 ; unpublished conference paper)
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