Daybreak

One in a pair of films which contrasts the two camera points of view: in Daybreak the objective camera records a woman as she sleeps, awakes, brushes her hair and applies her makeup, leaves her apartment, walks anxiously down the street, finally ending up at dusk on a bridge where she has a brief and unresolved exchange of glances with a man as they both look out towards the water. Whiteye uses the subjective camera entirely to assemble the visual pieces as a man attempts to write a letter to his love. Brakhage has called these films investigations of the « frustations of loving ».