Like many effective experimental works this modest film has a capacity to provoke questions of consciousness which outstrip that of mainstream cinema. In the materialist tradition, rather than representing or describing an experience, Hold generates an experience in the viewers being. The rapid flow of carefully composed yet casually recorded images undoes the habitual illusion of temporal routing and linear sequence. This is achieved not by working against the photographic representation of actuality, but by coupling it to what amounts to a Vertovian montage effect; attacking the illusion of temporal regularity and continuity at the level of human experience itself, revealing the flux-like nature of perception.