In Friedrich Kunath’s Untitled, we see a person in a snowman costume, replete with coal buttons, eyes, and a carrot nose, wearing a hat and scarf walking around a landscape. They are dressed as the quintessential, festive snowman except for carrying a large white suitcase. This person, however, sets a paradoxical tone in that they roam a baron, rocky, desert world – the last place on earth you might find a winter snowman. A lamenting piano tune accompanies the footage, and familiar cinematic techniques, shots and frames are sequenced together; the long shot that takes in the enormity of the landscape, the close crop, showing the snowman’s struggle over the terrain, and attendant panning shots that offer contextual atmospherics to the scene. The overall impression is that this snowman is out of time, out of place, and out of context to say the least. As the final shot zooms out to a great distance, we sense the enormity of their plight. There are no landmarks, no sensible horizon line, just infinite rock faces and dry arid land to contend with and overcome. The innate artificiality of the character means the snowman may not physically melt, but as we watch their experience of purgatory, we instead witness their hopes and will dissolve.