Rotation continues Paul Winkler's graphic representation of traumatised space. The architecture of rotation is like a series of colourful mobile postcards. The foreboding film noir sound collides mischievously with the seriality of this precise graphic procession. This film incises itself tenaciously at that invisible border between pain and pleasure and places the viewer uncomfortably at the mercy of its anticipation. By so doing, Winkler extricates us from our infatuation with spectacularised cinema.