Françoise Kersebet

Here the codes are both amplified and distanced by an expressionist plastic that for the first time perhaps in Expressionism, takes humor into account. Some very close-ups of flowers, insects, are reminiscent of the prose of a Caillois that I did not know until this film equivalent cinema. There is a double movement in this film. At the same time, a sort of restraint of the plans and a bulimia, a frenzy to film, perhaps this is what mainly troubles us and takes us into a way of seeing that was unknown to us.