"Ominous use of dark and light and lengthy sequences without dialogue characterize both Tiny and Baby's and Ingmar Bergman's films," we wrote a couple of years back, comparing the cinematographic style of the Chelsea Grays' "Want your supper?" with that of the great Swedish director's "The Virgin Spring." Now, this very afternoon, in the magic light of a setting sun, Baby (left) and Tiny are at it again, inviting our camera's eye to explore the sounds of silence.
John Singer Sargent's portrait of the Daughters of Edward Darley Boit also came to mind. (1882, Museum of Fine Arts, Boston, Oil on canvas) "Its composition was criticized for its 'four corners and a void,' the children not having any relationship to each other," according to one web site, but for us in this Chekhovian day and age of everyone's talking past each other -- whether or not intended by the artist -- the lack of communication amongst players perfectly catches the spirit of the age.