"Solomon's work - some of the best of contemporary experimental film - is difficult. Its optical and moral density eludes language, as if the films, which are often dark and cracked, were a palimpsest of obscured meaning. His PASSAGE OF THE BRIDE is dedicated to Duchamp's alter ego, Rrose Selavy - the title recalls Duchamp's 'The Bride Stripped Bare by the Bachelors, Even' - and is itself a ready-made, composed entirely from a 100-foot roll of wedding footage and what appears to be the honeymoon. BRIDE is hypnotic, dreamy. Solomon compulsively repeats recognizable images until they melt like distilled essences of the originals: The bride's run across a lawn, her climb into a car, a man (her husband?) emerging from a swim all become undulating black and white swirls of grain, ripples of water ...." - Manohla Dargis, The Village Voice
