Malcolm Le Grice was one of the founder members of the London Filmmaker's Co-op and one of the most important champions of experimental cinema in the UK. For nearly forty years he has worked as both a film-maker and also a critic. His recent book Experimental Cinema in the Digital Age collects his writings from the 1970s up to the present day, from the pre-digital era well into the digital one. In his artistic work, Le Grice has often looked at the often complex relations which exist between the process of projection and that of vision. It is for precisely this reason that many of his films have been conceived for projection on multiple screens, in that they are really performances or installations.
In Threshold Le Grice explores the various combinations and permutations of colours that are possibile using a cinematographic printer. The film, made using a piece of found footage, begins as simple photographic reproduction, but becomes ever more complex as the visual elements and layers of colour begin to build up. Le Grice has said about this film: "Film is, at each stage, raw material for new transformation". Conceived as a film to be projected on three screens, Threshold will be shown here in its reduced format on two screens.

Malcolm Le Grice Threshold 1972, UK, 16mm, colour, sound, 10 min. (2 screens/doppia proiezione) Threshold, made five years later, aptly offers points of comparison with Little Dog For Roger. Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour shift and permutation of imagery as the film progresses from simplicity to complexity. The initial use of pure red and green filters gives way to a broad variety of colours and the introduction of strips of coloured celluloid which are drawn through the printer begins to build an image which becomes graphically and spatially complex - if still abstract - and which evokes the paintings of, say, Clifford Still or Morris Louis.
With the film's culmination in representational, photographic imagery, one would anticipate a culminating ‘richness’ of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate (as in Little Dog) the work which is necessary to decipher that cinematic image.

Deke Dusinberre, LFMC catalogue, 1993