Abstract: This article examines Sharunas Bartas' cinematographic work through the plastic forms of slowness and stasis, and it interrogates the historicity of the filmed communities that seem to be the stunned inheritors of history. The filmmaker seems to entrust art images with the task of creating a sensitive space stretched between a past that has become unavailable and an indispensable political horizon in which archaic forms of being together are sketched out, which I will identify and question.
