The red-washed openmg passage of Paul Win­kler's new him is mesmeric, it is almost numb­ing, the Long Shadows of its title could be those of a sunset, those at the last daylight of time They reach into the dulled places behind the crucial issue of modern Australian hie the vanishing of the old, Anglo-centric Australia and its so-called "Asianization" The film's Shadows are those m which the Grey Ghosts of tune happily dance Winkler's artful technolog­ical form is not techno-flourish He probes the There and Now of Place, the depths of the hazy-blue Australian landscape and the crowded forescape of contemporary genera­tions of tounsts, through the reflexive gaze of a motorized, revolving prism, placed before the Camera.