Not A Still Life proves Roberta Cantow's superb abilities as a storyteller and her outstanding craftsmanship as a film maker. The film is filled with so many resonant images. I particularly liked the opening ( or near opening, I can't remember exactly) shot of Steve in the upside-down lounger. That shot is a great introduction to Steve, as someone who unabashedly acts as he wishes, without pretense. For Steve, upside down is just as good as right-side up.
The film creates and combines myth and reality in a manner reminiscent of Apichatong Weerasethakul. The mythical elements arise from Ms. Cantow's shots of Steve's garden and the back of his house that faces the garden. These shots give us the notion and feeling that Steve is in Eden, alone but very content. These mythic concepts are furthered by our seeing Steve (particularly when nude) gracefully, elegantly, and effortlessly glide through the water like a large sea mammal, a unique beast found only in Ms. Cantow's vision of Steve's Eden.
But then, on the other hand, Ms. Cantow remind us that Steve is of this earth, with his debt, maintaining his business, his tragic loss, his painful loneliness, his regrets, his temper, and most of all, his temptation to sell Eden! And finally, bridging myth and reality, is Steve's participation in Judaism.
In summary, Not A Still Life is a brilliantly conceived and realized work of art.