The video focuses on a closed door in a completely dark space, except for the faint light seeping from the room behind it. Amid the rhythmic flutter of a moth's wings and the creaking of the door, the latter repeatedly opens and closes at great speed.
What cache-cache (hide and seek) reveals is often incomplete. The image, generated by computer graphics, shows signs of unfinished light processing: what is known as image noise is the random variation of brightness or color information in images. Then, when a character suddenly flings the door open and briefly peeks beyond, he gasps, as if he saw something frightening—or as if someone saw him—and quickly hides, shutting the door again. In this exact istant the image quality suddenly skyrockets: every detail becomes perfectly visible, the room's light floods the darkness of the night; and, in a flash, the door is shut again.
The image takes shape, reaching a moment of realization following the slow, painstaking process, only to dissolve again and start over, gradually, to such an extent that the memory of that fleeting instant no longer seems reliable, as if it had been nothing but a mirage.
No matter how clear and immediately recognizable it is, it is impossible to hold on to that moment of clarity – an intuition, a door briefly flung open – and fully grasp it.
No matter how clear and immediately recognizable it is, it is impossible to hold on to that moment of clarity – an intuition, a door briefly flung open – and fully grasp it.
The root of being is shrouded in darkness, while the ways of being are fully illuminated; we do not know the meaning of existence, nor why we are given being rather than nothingness, but we can endlessly debate the modes of existence and the ways of living.
V. Jankélévitch, La Mort, Paris, Éditions Flammarion, 1977