"At the same time that André Bazin recognized cinema as ‘the instrumentality of a nonliving agent,’ he argued that it fulfilled a primordial human wish to preserve one’s likeness against the passage of time, the body of film standing in for the body of one’s material identity. For Hugo Münsterberg, photoplays reduplicated outside us the internal faculties of memory, imagination, and attention. For Epstein, film magnified for us. For Eisenstein, it shocked us. Theory throughout the celluloid era affirmed that all that was cinematic returned to us. Whatever commensurability must have been sustained to assure this mapping of viewer and image, however, appears to have slipped away in LOGISTICS, a film that, properly speaking, no human being can endure." –Kyle Stine

Taking the meaning of slow cinema to its extreme at a runtime of 37 days and nights, LOGISTICS is as banal, unfathomable, and sublime to comprehend as global trade itself. The film outlines the reverse journey of a pedometer, from a warehouse in Sweden to a factory in China, the bulk of which is captured over a month from a fixed angle aboard the cargo vessel Elly Maersk –a member of the largest class of ships at the time of shooting. This raw real time transit is, of course, impossible to fully intake in a single sitting, or to appreciate as a lone spectator.