A single, uncut shot shows an image moving at a highly decelerated speed: a boat and a small, dark figurative still life in the azure blue sea. The camera moves jerkily, the image jumps. After all, the original cell phone video that director Phillip Scheffner found on YouTube, and extends here to 90 minutes, is actually just three-and-a-half minutes long, and was shot by Terry Diamond on the “Adventure of the Seas“cruise liner in the Mediterranean. But we only discover this, and a whole lot more, in the credits. The coordinates are the only thing we’re sure of: 37°28.6’N and 0°3.8’E. The location of a refugee boat containing 13 people. At the sound level, we hear in excess of 20 voices which, in contrast to the boat, we’re unable to locate. The voices become condensed into a mosaic of information, tracks, speculations and stories. And yet the pieces of the puzzle do not fit together in a clear entity, and are not supposed to either. “Accident at see” is an experimental examination of mass media image policy and the resulting perspectives of transatlantic refugee movements. But that would merely be one way of interpreting it. A film that raises questions and let its audience wait, and by doing so, produces a physical experience that transcends the cinematic and documentary levels.