
SSS
1988

Representation Score
Excellent
2012
Director
Konrad Steiner
Runtime
68 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Konrad Steiner’s *way* deconstructs traditional cinema structures by using a sensory-driven montage. This approach avoids the rigid, scripted storytelling of mainstream films, allowing for a more nuanced exploration of social and sexual tensions. The film’s strength lies in its refusal to follow standard narrative cohesion, which enables a depiction of fluid and non-binary themes. However, the experimental nature of the film makes it challenging to assess specific representations, particularly regarding disability.
Category Breakdown
The film's structure highlights social and sexual tensions indirectly. Its fragmented, non-linear style avoids traditional romantic stories focused on heterosexual relationships, instead focusing on fluid identities.
The work avoids typical male hero roles by focusing on social tensions rather than traditional character arcs. Gender is explored through a lens of social tension rather than conventional plot structures.
The film features a diverse visual palette that blends scenes from San Francisco with images from the Iraq War, suggesting engagement with a broad socio-political context.
The narrative blends various elements like Fred Astaire performances with war footage, challenging traditional historical narratives and prioritizing situational truths over established cultural norms.
The film emphasizes urban impressions and social tensions, making it hard to assess the role of disabled characters. There is no clear focus on individual character studies related to disability.
Present on Screen
Limited or Absent
Official Synopsis
San Francisco filmmaker Konrad Steiner took 12 years to complete a montage cycle set to the late Leslie Scalapino’s most celebrated poem, way—a sprawling book-length odyssey of shardlike urban impressions, fraught with obliquely felt social and sexual tensions. Six stylistically distinctive films for each section of way, using sources ranging from Kodachrome footage of sun-kissed S.F. street scenes to internet clips of the Iraq war to a fragmented Fred Astaire dance number.

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