[12] Boswell’s work is sometimes noted for its elliptical montage structure featuring a wild concoction of appropriated film materials coupled with his own production footage.
During the 2009 Cambridge Film Festival in England the British film critic Laura J Smith wrote: He refers to his work as “Nova-Kino” a pertinent cinematic theory for filmmakers and media artists alike who, as Boswell describes, “utilise found footage as source material to be re-edited or re-animated, giving radical rebirth or second life in their reconstructed state.” A vital element of Nova-Kino is “the usage of critical, political, and other highly charged points of view embedded within the structure of the work that challenge hegemonic power structures at large or in more specific realms.” By no accident, these aesthetics are undeniably similar to those of Agit-Prop cinema, which Boswell labels “the eternal bi-product of the Russian Revolution.” [13] In Helsinki 2003 during the Avanto Festival, for the European premiere of his first feature film The Subversion Agency[14] – the Finnish film critic Manu Haapalainen wrote: The black and white film feels and looks like a version of Francis Ford Coppola's "The Conversation", set in Cuba, directed by Jean-Luc Godard and scripted by William Burroughs.
The film's intricate and non-linear plot has to do with the adventures of an American arms dealer in a perplexing country called K-Zone.
The soundtrack of The Subversion Agency" is chock full of something resembling electronic music, hissing sounds, beeps and interferences.
Nova-Kino is an experimental cinematic movement with departure points from the Russian twenties, film noir, situationism, the classical avant-garde, and post-modern appropriationist theory.
Nova-Kino's fire-brand critique of Capitalism, Americanism, and Technotopia will make its acceptance into the traditional venues of exhibition, distribution, and production DIFFICULT - but not impossible.