entirely control the film production process: from shooting, edit-ing, to directing. In 1983, Delphine Seyrig thus explains in an in-terview for the journal Les cahiers du Grif:

“Video gave me the possibility to make films without de-pending on anyone, without technicians. I was taught how to film and to obtain an image for a couple of hours or days, and after that I could start. […] As an actress, it was fantastic to suddenly become a director.” 13

Delphine Seyrig directed the documentary Sois belle et tais-toi ! (1975-1976) for which she interviewed twenty-four North Ameri-can and French actresses. She asked them questions she had asked herself, thereby exposing, through their voices, a powerful fem-inist critique of cinema and of the stereotypical roles imposed upon actresses. After completing the film she declared:

“For me, working with video is a kind of revenge on the job I do, where it is other people who decide for me. I can tell my-self what I want to do and say. It’s not like cinema, when you’re filming you’re constantly thinking about the very expensive film you’re wasting. The videotapes, which last for half an hour, provide greater continuity in the conversation.” 14

Les Insoumuses’s appropriation of the lightweight video cam-era is thus anchored in a self-representation undertaking, which meets the self-empowerment demand advocated by the women from the MLF.