By Tara Judah
I am “waiting” for The Death of Place (2013) to begin. I soon realise, however, that the journey, and the film, has already started. Dirk de Bruyn is taking me with him, to interrogate place. Only it isn’t where I think it is.
The place de Bruyn has in mind is an intersection – and a little less where than when. It is the sum total of sensory affect: visual and aural. But it is also preoccupied with time, specifically the past. As each manic frame dances before my eyes, I try to locate at least the death of such a “place”.