Peter Tscherkassky’s L’Arrivée stages waiting as both a temporal experience and a historical condition of cinema itself. In L’Arrivée, anticipation is prolonged before the image appears, foregrounding delay, attention, and suspension. By reworking the Lumière train—an emblem of cinema’s origin—the film reflects on waiting as a threshold between stillness and movement, past and present, perception and expectation.    

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