The structure of the film where the cameras are simultaneously facing in and out mirrors the structure of a swastika, the aggression that builds up over the course of the piece until we reach the point of the ultimate insult. As the insult is both directed out and in it makes the piece less directly confrontational than if it were delivered straight to a single camera, instead there is a circular flow to it, moving inwards and out. The aggression (and also the politeness) is aimed inward as much as it is aimed outward.
Looking back along with Zulu, this is probably my strongest work to date, hopefully this will change.
