A camera pan along the horizontal line of sight oriented on a singular object in the landscape: Tindaya contrasts the monolithic presence of a silent mountain range with the speed of a fleeting movement. 
Although this may seem to be a topographical measurement of a stretch of land, it turns out to be a self-reflexive arrangement as the filmmaker has fanned out the recordings in a threefold split screen. In doing so, Krems foregrounds the parameters that constitute the medium: in this case, the relationship of space and time reveals itself as unreliable and non-continuous. The fragmented course of the film image provokes an unstable vision, which allows only the mountain to remain as a constant element in the rhythmic beat of the dimmed and illuminated images. These images join together at random moments, while the perspective of the gaze constantly newly configures. The sharp contrast of the black-and-white images intensifies the oscillation between proximity and distance and also the play of light and shadow introduced in the speed of the spatial transitions. 
The mystical aura of the solid rock faces, primarily of the mountain Tindaya, which gives the film its name, and is considered holy by the indigenous population, captivates the gaze, and continues in the patina of the coarse-grained Super 8 image, while the fragmentation of the pictorial space implies the impossibility of ever entirely capturing this sacral site. 
(Shilla Strelka)