
The Time Being
2012

2016
Director
Scott Barley
Runtime
7 minutes
Average Rating
No ratings yetSynopsis
Upon liminal spheres where dreams are woven, Adrift between stars and the trees, I pass closer to the golden dawn. There’s a warmth beyond the shadow. I feel the aurum under my eyelids, And I hope the birds will sing. Oh, I hope I will hear the birds sing... Perhaps a knowledge that never comes. for David Robert Jones (8th January 1947 - January 10th 2016)
Overall Score
Minimal
Category Breakdown
LGBTQ+ Representation
The film offers no evidence of LGBTQ+ characters or non-cisnormative identities. The focus remains on celestial and natural imagery rather than interpersonal identity politics.
Gender Representation
Narrative elements are largely gender-neutral and focus on sensory experiences. There is no visible subversion of traditional gender hierarchies or clear female or male agency.
Racial & Ethnic Diversity
The work lacks any specific racial or ethnic identifiers. The imagery is elemental and universalist, providing no cultural or demographic markers for assessment.
Religious & Cultural Diversity
The film leans toward a non-specific spirituality and subjective morality. It prioritizes existential uncertainty and a sense of secularized mysticism over traditional social structures.
Disability Representation
There is no mention of physical disability, neurodivergence, or mental health conditions. The content remains strictly focused on the atmospheric and the ephemeral.
Strengths
Areas for Improvement
AI Analysis
Scott Barley’s *Closer* functions as an experimental, poetic meditation rather than a character-driven narrative. By prioritizing metaphysical inquiry and dream-like imagery, the film moves away from traditional storytelling. Because the work operates in a realm of pure abstraction, it lacks the demographic specificity required for meaningful representation. It avoids stereotypes by deconstructing character archetypes entirely, yet this results in a neutral stance regarding social identity. Ultimately, the film is an exercise in atmospheric semiotics. It explores the spaces between states of being, leaving social and intersectional metrics largely unaddressed.

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