A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion...

Trata-se de uma disfunção cinematográfica chocante; um cinema vanguardista provocador. Outer Space evoca um inferno que busca a destruição (da narrativa cinematográfica e ilusão) com beleza inimaginável.

Una premonición de película de terror, peligro acechante: Una casa -de noche, ligeramente inclinada a la vista de la cámara, inquietantemente iluminada- emerge de la oscuridad más absoluta, para luego volver a hundirse en ella. Una mujer joven se acerca lentamente al edificio. Entra en él. Los cortes de la película crujen, la banda sonora rechina, suprimida, sofocada. Las imágenes encontradas de Hollywood constituyen la base de la película. La figura que se arrastra por las imágenes, que es arrojada por ellas y que las ataca es Barbara Hershey.

Outer Space, sinematografik bozukluğu sarsıcı, avant-garde sinemanın cehennemi yaşatışı. Hayal edilemez bir güzellikle yıkımı takip eden bir cehennemi akla getiriyor.