Summary
Walter Ruttmann’s 'Opus II' represents a seismic shift in the ontologies of both cinema and the plastic arts, functioning as a temporal expansion of the canvas rather than a mere photographic record of reality. Eschewing the narrative trappings that defined the era, Ruttmann orchestrates a rhythmic ballet of non-objective forms—pulsating ovals, surging lines, and soft-edged geometric entities—that breathe with a vitality previously reserved for biological organisms. This 'absolute film' serves as a manifesto for visual music, where the screen becomes a site of chromatic flux and kinetic plasticism. By meticulously hand-tinting and manipulating physical materials, Ruttmann bridges the chasm between the static permanence of painting and the ephemeral flow of music, creating a pre-digital symphony of motion that interrogates the very nature of human perception within the burgeoning Weimar avant-garde.
Synopsis
As early as 1909, Walter Ruttmann explored the artistic properties of the film. His theoretical and practical work led in 1919 to the first "absolute film", Opus I. Ruttmann placed "painting more time" halfway between painting and music.
Director
Walter Ruttmann
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