“For Black and White Film, Huot created his own photographic imagery for the first time. After a few moments of darkness, a young woman (Sheila Raj) lowers a covering of some kind, slowly revealing her naked body. She reaches outside the circle of light, which illuminates only her silvery form, scoops up dark paint, and, beginning with her feet, gradually paints her entire body. When she has become invisible except for the faint sheen of the paint, she drops her arms, looks straight ahead, and the film fades to total darkness. The serenity of the film, which is structurally reflected by Huot’s presentation of the action from a single position in a single take, its sensuality, and the aura of ritual it creates (Raj always moves in a formal way and, except when she needs to look for the paint, looks modestly down) make Black and White Film a quietly haunting work.”—Scott MacDonald, “The Films of Robert Huot: 1967 to 1972”, Quarterly Review of Film Studies, Summer 1980.
0.0/10“For Black and White Film, Huot created his own photographic imagery for the first time. After a few moments of darkness, a young woman (Sheila Raj) lowers a covering of some kind, slowly revealing her naked body. She reaches outside the circle of light, which illuminates only her silvery form, scoops up dark paint, and, beginning with her feet, gradually paints her entire body. When she has become invisible except for the faint sheen of the paint, she drops her arms, looks straight ahead, and the film fades to total darkness. The serenity of the film, which is structurally reflected by Huot’s presentation of the action from a single position in a single take, its sensuality, and the aura of ritual it creates (Raj always moves in a formal way and, except when she needs to look for the paint, looks modestly down) make Black and White Film a quietly haunting work.”—Scott MacDonald, “The Films of Robert Huot: 1967 to 1972”, Quarterly Review of Film Studies, Summer 1980.
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