"For about sixty minutes, STILL peers through a New York City street level window, watching the storefronts and windows across the way. People come and go, cars pass by, and the space/time are further articulated by the street sounds which are or are not exactly matched to the activity outside. A single tree grows in the sidewalk across the street, rich in foliage - and somehow, the taxi cabs, autos and people who cross the street are sometimes solid, sometimes transparent. ... this very subtle and perplexing interweave of transparency and opaqueness - sends the audience on its way with the feeling they have seen a magician at work. But for me, there are even greater mysteries and secrets in this beautiful film. The basic, root mystery of the evocative object, the evocative mood - which I have been waiting for years to see film come to terms with, and which in my opinion STILL does come to terms with in a significant and important manner.

"STILL is, for me, the first truly Proustian film in which I see mood and atmosphere seem to become slowly crystallized on particular objects - as if the whole framed scene and its mood slowly coagulates into - for instance - the mysterious recesses of the lush foliage of the tree across the street which the breeze slowly stirs .... Gehr has succeeded in making the first 'objectification' of atmosphere film, in which objects and relationships between them end up radiating the mood which heretofore I had only been able to think of as a 'container' rather than the contained. The moving and remarkable thing is that in this fifty-odd feet of New York City street front that we view for sixty minutes, nature and dreams of the forest and sky and wind and wilderness end up being more forcibly present than in any film about nature and forest and sky, etc. ...."
- Richard Foreman, Film Culture #63-64

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