Ideologically, we are made to contextualise the visuals in front of our eyes with respect to a grand narrative. In watching and subsequently creating conventional films(in that the audience ‘creates’ the film in her mind, determining the film’s epistemological drive), the audience fills in a ‘pre-determined’ set of causalities in order to initiate her own cathartic reaction at the end of the film. In ‘intervals’, film-in both its realist and surreal traditions-is treated as a unified, material history; and letting this history to function as a grammatical hinge, shots are selected from it, barred from their context, and are presented in a seemingly linear pattern. However, only shots that are conventionally meant to ‘fill in’ the inconsequential details of the narrative cause of films are chosen-the small ‘intervals’-in an altogether different context(or lack thereof), to posit a possibility of free association in determining both metanarratives, and micro(hi)stories...