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Psalm II: Walking Distance

Name: Psalm II: Walking Distance
Director: Phil Solomon
Released: 2000
Duration: 23 min

Representation Score

5.6/10

Fair

2000

Director

Phil Solomon

Runtime

23 minutes

Average Rating

No ratings yet

New Showbiz Analysis

Phil Solomon’s experimental work functions as visual poetry rather than a traditional narrative. By presenting the medium as a 'lost' relic that is smelted and boiled, the film disrupts Western cinematic traditions of clarity and objective truth. This meta-cinematic framework replaces structured storytelling with unstable, shifting imagery. While the film lacks the explicit character-driven roles needed for high demographic scores, its structure is inherently progressive. It rejects the industrial, fixed standards of mainstream media in favor of a subjective, non-linear experience. This approach challenges the systemic structures of Western media consumption through pure form. Ultimately, the work succeeds as a critique of the 'grand narrative.' It moves away from contemporary social hierarchies by embracing a mythical, prehistoric aesthetic that prioritizes sensory exploration over conventional identity politics.

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Category Breakdown

Does Psalm II: Walking Distance have LGBTQ+ representation?

Fair

The film's abstract and non-linear nature makes specific character identities or romantic pairings hard to identify. While it avoids traditional assumptions about straight relationships, the lack of concrete characterization prevents a higher assessment of active LGBTQ+ representation.

How does Psalm II: Walking Distance portray gender?

Fair

The emphasis on shape-shifting forms and unstable molds suggests a narrative that avoids rigid categorizations. By prioritizing fluid imagery over fixed personas, the work implicitly challenges the stability of traditional gendered archetypes.

How racially and ethnically diverse is Psalm II: Walking Distance?

Fair

A focus on a Bronze Age aesthetic suggests a temporal displacement away from contemporary Western racial hierarchies. However, without specific casting details, the presence of diverse ethnic representation cannot be verified.

How does Psalm II: Walking Distance represent religion and culture?

Good

The film critiques the fixed nature of modern Western institutions by framing filmmaking as a primal, elemental process. This rejection of structured cultural norms aligns with a deconstruction of Western cinematic standards.

Does Psalm II: Walking Distance include disability representation?

Minimal

There is no evidence within the available context to suggest the presence of characters with visible or invisible disabilities.

Present on Screen

Challenges traditional Western cinematic structures through a highly experimental, avant-garde approach.
Rejects rigid archetypes by utilizing fluid, shape-shifting imagery and unstable narrative molds.
Critiques modern industrial standards by framing film as a primal, elemental process.

Limited or Absent

Lacks explicit characterization or identity-driven roles to demonstrate active demographic representation.
The highly abstract nature prevents the verification of specific racial or ethnic diversity.
Provides no discernible evidence regarding the representation of individuals with disabilities.

Official Synopsis

Imagine a rusted, medieval film can having survived centuries, a long lost D. W. Griffith / Georges Méliès co-production, a film left to us from the Bronze Age, a time when images were smelted and boiled rather than merely taken, when they poured down like silver, not to be fixed and washed, but free to form and coagulate into unstable, temporary molds, mere holding patterns of faces, places, and things, shape-shifting according to whim.

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