A journey towards the work of art and a journey inside it is always of a two --pole nature, the meaning of a journey is composed of oppositions, it is the incomplete that matters most something still developing. A journey in a land between two continents becomes a search of an inner, remote equilibrium, which is attack--prove--again the longing to discover something 'different'. Rudolf Alexandreyevitch talks about life torn between a fatal divide beween the German and Russian languages. A misunderstanding from war branded him as well. At the close of the World War II her was deported to Siberia as an Ukrainian soldier. Like many other expatriated people he found himself a local girl, got married and stayed. He has been working in kolkhoz for years, and now is sitting on a bed, the camera looking at a person branded by murders which made him understand how little it takes to make nobody out of somebody who used to be so close, we are looking at one of the heroes of the life in the uninhabited north. In February 1994, the director Michael Pilz left for Siberia together with a Dutch photographer Bertien van Manen (her reading lets us inside the film). The expedition of two artists, who have known about each other's existence for many years and have shared some views on aesthetics and the same individual perception of reality, resulted in a ten--hour documentary--river Let's Sit Down onto a Path (1995). The film travelogue focused mainly on the meditative experience of the newly discovered spaces. Siberian Diary -- Days at Apanas is a return to the land already known, an already informed sequel. The slowly discovering document draws fine but firm sequences of poetic cuttings and intimate interviews with inhabitants of a small village called Apanas, who are covered with snow and cut off from the rest of the world for six month a year. The harsh climate dictates the tone of the film, as if the geographical location itself contributed to the radical aesthetics of it. Despite vastness of his films, Pilz's filming is not light, results of his work, so active inside the images, are admirable, he doesn't mirror the scenes, he creates them. He does not capture poetry, he tries to reach bigger, maximum materiality in structure, he does not experiment with editing, he searches inside, and the quiet pragmatic spots in his films are of the most intensity. Pilz regards a film as a tool for mutual understanding within the memory of history and culture, understanding that does not cease to exist -- like humanity -- although there is no response.