Unknown time left

In the short film Unknown time left, Peters traces the passage of time within the home of a woman suffering from dementia. Due to her illness, the resident is no longer able to recall her memories; through slow tracking shots, the sofa, wallpaper and carpet become both witnesses to time and, at the same moment, compositional elements. Viewed in calm detail, the objects reveal their aesthetic language and become landscapes of patterns and forms

Unknown time left develops its own temporality and is dedicated to the attentive examination of a living space. The resident remains only to be surmised and does not appear, meaning that the flat and the objects within it form the narrative centre. The camera lingers on the curled edge of the carpet, the scratches on the table and the fluff under the sofa; the delicate, slightly yellowed curtains create a sensitive atmosphere through the play of light and shadow and, in their lightness, immediately become bearers of temporal meaning.

The constant ticking of the clocks links the rooms together and brings the passing of time into sharp focus. The whirring of the washing machine and the lowering of the nursing bed add to the soundscape, creating a condensed image. Close-ups and wide shots alternate; everything seems strangely familiar, even if it is not one’s own home. The absence of people is felt through the viewer’s inner world and is thereby filled. The presence and absence of bodies and the slowing down of the gaze characterise Peter’s works.

Unknown time left derives its cinematic impact from the narrative power of the objects and the traces of time inscribed within them. They highlight transience and connect directly to human life and its finitude. Peters allows the camera to glide and linger through the spaces in long, drawn-out takes, restoring a sense of calm to our hurried gaze—a calm to which our perception of time is tied, a perception that sometimes fleets, sometimes stands still, or simply passes unnoticed.
Text: Helene Bosecker