had known since its release in the US, was then “out of print both in English and in its French translation”, and that “it was thus diffi-cult to get hold of it”.

The two directors, framed in profile, are sitting at a table, fac-ing each other. Delphine Seyrig holds the book and reads out ex-tracts of Valerie Solanas’s text which she directly translates from American English, as she is fully bilingual and has spent her teen-age years in the United States; while Carole Roussopoulos con-scientiously types them at the typewriter. Between them, under shelves full of books, a TV monitor framed frontally displays, with-out sound, television news footage, “where we only see men at war, battleships”. 16 The text travels between the two women: by repro-ducing it, Carole Roussopoulos becomes the “the vector of trans-mission”. The video mise-en-scène, both simple and efficient, en-ables them to avoid a simple reading by Delphine Seyrig, which would have relied on her “star” image . Reading out and typewrit-ing become powerful mediating devices, used to focus the viewers’ attention, to get to grips with each word pronounced, and to gen-erate a rhythm that is slow, regular, but also relentless, leading to a feeling of saturation.

Occasionally, the reading is interrupted. Carole Roussopoulos turns up the volume of the TV monitor, which keeps “discharging images of wars and disasters, of global life under the rule of male politics”. 17 There is footage about the nuclear arms race between the US and the USSR, the two Koreas, the deadly fighting in Leba-non — the country where Delphine Seyrig and Ioana Wieder spent their childhood — the violent demonstrations in South Africa, the bloody repression of the activists from the People’s Revolution-