Summary

In effect, it turns the spectator loose in a problematic textual system which includes both narrative and non-narrative clues; the puzzle cannot be resolved because its terms are systematically ambiguous. The actual filmic material related closely to that used by Gidal in previous films: hand-held shooting in domestic interiors, with tight framing, frequent zooms and re-focusing, aspires to a kind of 'pre-predicative' flux, in which full representation is held in abeyance. However, this material is now fragmented by the regular interruption of black leader, so that it appears as a series of discrete segments which are not, in any syntactic sense, shots - single takes clearly extend across more than one segment.