another finnish experimental film.

dvd to divx, 720x304, 16 minutes, 183 mb

from film-makerscoop.com: 

ROUTEMASTER - THEATER OF THE MOTOR consists of strobe-like, fast-flickering shots, and grainy, monochrome images of speeding rally cars. While Phjola's ASPHALTO was still concerned with human interactions, here the absence of humanity is total (only cadavers at the end signify that there has been life, of some sort): what remains are the machines in movement that is an end in itself. The rhythmic structure is provided by slow-motion, close-up shots of checkered flags, repeated at regular, mathematical intervals, with passing shades of blue proving almost the only color in the film. Shaky, hand-held cameras and split screens are used, with occasionally mosaics and repetitions of the checkered flag theme. At times, the accelerating speed of the images makes it painful to watch the film, like a sort of visual Blitzkrieg waged on the human nervous system through the viewer's tortured retinas. The whole watching experience becomes increasingly fragmented.

some more info:

Routemaster is a montage of rhythmically organized repetitions and involves an abstraction of motion that increases in frequency and scale. Intercutting of two counterposed materials provides the basic framework of the film. On the one hand, it uses black-and-white, endlessly accelerating and rhythmically varying images of the inexorable forward motion of the racing cars. On the other hand, it uses colorful, extreme slow-motion images of details of a checkered flag fluttering in the wind. 

The escalating speed, growing abstraction and mosaic-like repetition of images leads on to manipulated, yet realistic images of human bodies used in crash tests. In the end, all that is left is the black-and-white flash of speed, the gyrating pulse of the mosaic, the details of the human bodies and the intense soundtrack. 

Routemaster has some of the qualities of a live concert. It is a film conscious of its context. It aims at a new filmic synthesis of the history of structuralism and minimalism, and at finding technical approaches that revitalize the tradition of formalist expression. Soundtrack includes work by Non (Boyd Rice) and Merzbow.