… the ultimate goal is to lure the viewer into an uncommon involvement or “exchange.”
Continuing through Slow Movies: Countering the Cinema of Action by Ira Jaffe (2014):
… “Hollywood busies itself with ultra-scene changing, getting quickly in and out of places,” said Van Sant. “But a lot of stories happen in our lives when we park six blocks sway and walk.”
… the filmmaker risks distancing and even losing the audience by forgoing actions and locales typically regarded in mainstream cinema as dramatic and exciting.
Further, Van Sant’s desire that spectators “have space to drift off and reflect,” or “to get lost,” resembles Sokurov’s taste for “fog, smoke, vapor, and gliding movement [that] distance the viewer from the overly sharp quality of screen reality.” Both Van Sant and Sokurov create films that encourage the spectator to drift off, yet also to think about and fill in aspects of plot, space, time and character deliberately left unclear by the filmmaker.
… “Modern-day cinema takes the form of a sermon,” he said. “You don’t get to think, you only get to receive information. This film is not a sermon. The point of the film is not being delivered to you from the voice of the filmmaker. Hopefully, there are as many interpretations as there are viewers.”
… Though the distance each director establishes in his films may prompt the viewer to “drift off and reflect,” the ultimate goal is to lure the viewer into an uncommon involvement or “exchange.”