When the projector started rollin', I thought I was viewing an ultrasound from a pregnant mother.

A couple of minutes later I saw a faint vision of a swastika and I hastily knew what this film was driving at.

Psalm III combines footage from a documentary done by German expressionist Paul Wegener entitled The Golem (1920), with Solomon's own cinematography.

Solomon wanted to evoke the legendary tale of Rabbi Loew in this film. The legend says that Loew created a monster out of mud, to save the Jewish population from the ghettos in 16th century Prague. The monster is a symbol of resistance under siege.

After later reading a description of the film, I had total confidence that Solomom carried out his vision and goal of this film.

The film was shown at Windsor's Media City 9 film festival, which takes place every year at the Capitol Theatre.

"A moving painting," is what members of the Media City 9 production crew called it.

A mass of visual distortion and heartbreaking imagery is what I call it.

This distortion came about because the film was treated to make it a photo chemically charged dynamic surface.

This might not mean much in words, but what this means to the viewer is that Psalm III looks like it is embossed with a silver background and black detailing.

It was hard for me to decipher the imagery at most times but when I could, it burnt into my brain.

The score for the film was just as hard to decipher. At times it sounded like rustling wind, and at other times it sounded like ocean waves. It seemed to grow from stagnation at the beginning, and rose with each climax and solemn moments.

Psalm III is one of a three part series of full-length 16 mm films entitled The Twilight Psalms.

The second film in the Twilight Psalms series won the Juror's Award at the Black Maria Film Festival.

Some of Solomon's work resides in the archives of the Museum of Modern Art, the Massachusetts College of Art, the Binghamton University, the Chicago Art Institute, the Oberhausen Film Collection and many more institutions.

Solomon has shown his films in almost every major venue for experimental film across Europe, the U.S. and the Art Gallery of Ontario.

Solomon now teaches film aesthetics and film production at the University of Colorado. His achievements, awards and renowned acknowledgment have shown that his vision is clear.

For me, Psalm III accomplished its vision with such ghostly results that I retracted from viewing any of the other films at the Media City 9 festival. Every time I was about to leave my apartment to see another program in the line-up, visions of Solomon's film entered my eyes and I soon just turned around, sat down, and stared at the wall.