"Like STREET FILM PART ZERO, PARIS BIRTH manifests with the employment of four projectors running simultaneously with image overlap. The film opens with one projector showing the film-maker's wife walking down a Paris Street. Short bursts of film, flash frames, jumps, and the gentle flow of motion and subtle color highlights the scene. When the other projectors are switched on, shown are isolated events leading up to the birth of a child. The mystical beauty of the film cannot be ignored and the pacing of the four images afford a kind of universal intimacy into the human condition of constant flux. Ordinary events, such as walking down streets, pouring coffee, talking on the telephone become extraordinary on the level of recognition of the regenerative process going on inside and outside the viewer."—Susan Headley

24 October 1980

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