"Black vertical bars divide a nebulous green glow, thick lines fly by in unison. It’s a filmstrip, a barcode, a jail cell, a zoetrope viewed from the inside. In reality, it’s a rush of fence posts seen from a vehicle moving through a verdant landscape—a flicker-film built from documentary footage, abstraction from verisimilitude. This opening of J.P. Sniadecki and Joshua Bonnetta’s El Mar La Mar is as inexorable, unknowable, and entrancing as that which follows. An exquisite experiment in applying avant-garde aesthetics to a political subject, the film demonstrates how suggestion is more effective than assertion, dissonances as revealing as confluences."