This film by Snow was unique. It filmed a studio room in a building. The camera stayed in the same position but it did zoom in and out. Throughout the film a picture of waves in the ocean were in the center of the screen. As the film progressed, the camera slowly became closer to this picture. When I was watching this film I did not notice that the camera was zooming in on the picture until I realized that certain objects were not included in the frame anymore. The "music" that accompanied this film was a high pitched tone that varied as the film went on. Color was also used during different parts of the film. Snow also played with the effect of the positive/ negative image. This whole effect was disorienting and foreign. Snow's use of editing and focusing was new and he created a film that is very interesting.
--Erica Ferry, 2000

I found this to be a test of the spectator and guidelines of what a movie is. Snow tests the abilities of the spectator as he drags out the action-less vision of an office space(or apartment, but there were no signs of this room being a home). Snow provides subtle changes to entertain the viewer, as in the color and polarity changes. There was slight narrative containing the women and the man that falls. However, as the camera gradually zooms toward the picture of the ocean hanging on the wall, we forget about that narrative. The question that is left is whether or not this is an acceptable movie? It does have narrative, it has subjects, and the film has some movement. (This reminds me of what Warhol was trying to prove within a lot of his work) Therefore, the decision is left to the spectator. There is a lot that depends upon the spectator within this film as we all are required to remember what has happened many minutes ago and apply it when the need be. Wavelength is definitely a test of the attention-span.
--Eva Jones, 2000

Michael Snow Work