For Vargtimmen, the source images from the film of the same title by Ingmar Bergman were selected in chronological intervals of five minutes. Bergman’s concern with character and composition and Sven Nyqvist’s brilliant black and white cinematography turn almost every frame into a striking portrait, so that a seemingly arbitrary five-minute interval becomes an oddly effective dramaturgical device. The drawings, as well as the series as a whole, are governed by the principles of reduction and distortion. Foregoing a straight retelling of the film’s narrative, this deliberately and necessarily fragmented succession of portraits creates a pictorial sequence distantly parallel to the film.