Mark Lewis’ films use a very reductionist and minimalist language. Mostly they just consist of a single tracking shot, a slow zoom or even a static camera setting; no cuts and no sound. The basic techniques of the medium film play an important role: ‚From Third Beach 2’ (2011) for example quotes the technique for night shots, that also nowadays still use daytime shots made with a strong black filter. Another good example is ‚The Moving Image’ (2011), it shows a static camera setting during an elevator ride and thus asks the question of the moving image per se, meaning the relation between photography and film. Sometimes even references to commerical cinema can be found; for example in ‚Forte!’ (2010), where a highly dramatic tracking shot à la James Bond is combined with the unemotional pragmatism of aerial shots by a war drone. Mark Lewis’ interest is not the great story but small excerpts of reality. ‚Willesden Launderette’ (2010) only shows a reverse dolly from a launderette into a busy London street; the substitution of the cut by a reverse dolly makes the switch from one reality into another visually plausible but at the same utterly surreal. Also in the show at Kunsthalle is ‚Gladwell’s Picture Window’ (2005), a film of reflections on a window with glass covered frames behind. This situation is totally common to everyday’s life, but at the same time it bears a mesmerizing visual attraction.