A meditation on the certainties of being and perceptual illusions, a circling search in time and space, and at the same time a trompe l'oeil; the spatial dimensions of Morton Feldman's steady, apparently timeless music are taken literally in the film: The sketched arrangement of a musical ensemble about to perform Feldman's composition fills with 'real' musicians caught in the paper's two-dimensionality, only to move to the spatiality of the Vienna Konzerthaus. But what is real here, what is a visual fake? "Seems To Be" dances on this platform of ambivalences, juxtaposing the metaphysics of a solid existential foundation and the agnostic skepticism of an abandonment of being marked by a visual chimera. Godless Feldman, merciless abyss! What we see is looking back at us.
Thomas Miessgang