Recent filmwork has been informed by a vaguely mannerist rhetoric, where style is not a pattern for presenting the real but for presenting its own technical vehicles, the production of 'meaning' and the 'will to meaningfulness' being two of these. "Singular allegiance to syle sabotages any broader consideration of a mythic and unspecified intent and content" ... Caught up in strategies of appropriation, Train of Events recognises that today, speed kills everything (except the pleasure of the blur!) and populist moralism is turned over in an ecstasy of exteriority.