A Zed & Two Noughts

Peter Greenaway in 1986
We have the usual Greenaway angle, painterliness in framing. And analtyic inserts. With some added tracks on one angle in and out, and more of a willingeness than 'The Cook...' to track in and out. There is the usual flashing reds and lights, with one noticabely impressive use of changes of light, on and off. The framing is often low. Is Greenaway a formalist? Yes. There is a sense of fixing things here, of fixing life and not letting it live. Trying to return to the great fine art tradition, which is freezing life (this is a criticism). Putting it in the modern idiom does something different though, and strange.
This film can lead to discussions of life.
There is a sense here of the characters trying to accept change. Of fixing life, and living through it, is the film's dialectic. Twins as seeing themselves change, in the other. Accepting and avoiding this. Nature is change.
Do films allow an understanding of change. Or do they fix, freeze, congeal, the very process of change itself, are they the ultimate reification. Is Greenaway's style, which can get a little tired, for all his, in our eyes, superiority to nearly every other British director?