Years ago I was a runner in a post-production facility and one day I caught sight of an early Adrian Lynne (Flashdance, Fatal Attraction etc.) short being dubbed. It was probably called "Cappuccino or "Espresso" for its total focus was the reflections, shapes and sounds made by a beautiful espresso machine (way before the days of Starbucks had hit UK shores.)

In its almost provocative simplicity, Lyne was trying to get across what many people can thrill to but which is sometimes impossible to explain - the sheer joy of light, colour and sensuousness that can be contained in the most seemingly banal.

When you're driven by visuals you want to celebrate and if you're an artist you often want to share that passion. However, if you’re a Paul Schrader fan, you’ll understand and perhaps have experienced Mishima Yukio’s tenant that beauty in and of itself is dangerous – the extreme theme being that the physical presence of beauty is life-threatening.

Pulling back from my memory and out of some high-altitude philosophical clouds I look at “Clutch” and wonder. I used to be a sucker for beautiful images; I used to regard disastrous cinema experiences as a success if there was just one gorgeous composition or visual device to take from the 2 hours of my wrecked life. Now I feel differently.

Although she wasn’t her own DoP on “Clutch”, it’s obvious that Stevens has got a great eye, trained by her art background. There’s something that reminds me of “Ratcatcher” in its tone. But this is definitely a mood piece more intrigued with texture, light and capturing an indistinct atmosphere than with telling a story.

Eggs, birth, being constrained, being free, the space between childhood and adolescence…?

“You know, when you're in your twenties you use a great deal of symbolism. You somehow think that a character standing beneath a cross is more interesting than a character standing underneath a billboard, but when you get a little older you realize that there's not much difference.”

From “Affliction and Forgiveness: An Interview with Paul Schrader”, © 2000 University of California Press

Maybe I'm feeling similarly to Ben if I interpreted him right, he sure has his own way of expressing himself. Why is there nothing to take a face value in this!.. I think the deep, osbscure metaphorical images in this need to be complimented with some unmistakable depictions.. I just find myself thinking why do I have to read so hard into this to start getting ideas of what it's trying to say? It's so, so weird!.. It is beautiful, and the acting is captivating, the girl quite interested me.. I still felt clouded in confusion by the farmyard elements mixed with the adults whispering and what that was trying to signify with the egg-breaking.. and .. I don't know, the whole thing was like an odd dream that gave me more of a strange emotional glow inside me, than made me actually think about something tangible. Crikey.

Very pretty photography, interesting story that benefits from a lack of dialogue. Is the egg a bridge to womanhood? Possibly a little unclear, but i reckon it benefits from multiple viewings

Adding to the statement made previously, I can see why people may scratch their heads at this one but I found it metaphorically amusing as well as melancholic in places, the fragility of life at its most innocent, exploring the depths for when it becomes more pubescent - cinematically soothing - thanks.

The film is very well shot but I'm sorry to say I've seen it about three times and I'm still none the wiser as to what it's about. Every time I see it at screenings I know I'm not alone as when I look around afterwards I see people shrugging their shoulders.