tance and depth to the manifesto; it offers a striking, updated read-ing of the text, and even underlines certain humorous effects con-nected to the discursive reversal (“The male is a biological accident: the Y (male) gene is an incomplete X (female) gene, that is, it has an incomplete set of chromosomes. In other words, the male is an incomplete female, a walking abortion, aborted at the gene stage.”) or to the mise-en-scène (sometimes, Carole Roussopoulos’s deter-mined fingers get exited on the same key). Through the framing composition, the video suggests an opposition, or even a reversal, between the VTR (Video Tape Recorder) and the TV: the former responds to the television, denouncing in a frontal way, through its critical discourse and the close-up framing of the TV set, the unbearable flow of violence. The directors are driven by the same anger: “what happens to others, either good or bad, she shares it like I have never seen joy or pain be shared. The only obstacle to