"Often, at the end of a movie, filmmakers feel the need for some takes of the sky, a landscape, empty streets, and so on. There is no movement in those shots, and the directors could simply film still photographs. But the eye discovers this immediately, because even if there is no movement (in either the subject or the camera) the presence of movement always appears in any filmed image. This play of mobility and fixity is a dwelling-place of involuntary signs."
—Raúl Ruiz, Poetics of Cinema
The last image of a film that comes to mind most readily when thinking about this excerpt is that of João César Monteiro’s Vai-e-Vem, where our hero's eye (and heart?) stop.