few minutes of the film, two matched cuts speed up — in forward or backward jumps —, the movements of the frame. The first ax-ial cut on a gesture of Carole’s arm, introduces a close-up on the television while keeping the same axe and gives voice to the news again: this time to the massacres taking place in Argentina and “the manhunt in Buenos Aires”. The second axial cut brings the cam-era back and seems to introduce another temporality. The images could have been shot another day, not only because the television news is presented by Bruno Masure (J-C Bourret turns the floor to him), but because two topics that have previously been covered are repeated: the first topic is about the conquest of space, and the second about the women’s march in Ireland, that brought together Catholic and Protestant women. Carole and Delphine’s domestic space finds a resonance in the public space with two figures of the Northern Ireland Peace Movement: Mairead Corringan and Bethy Williams.

formal echoes

These seemingly simple — or minimal —, formal gestures (phasing the “counterpoint” and “framing-cutting” are political, re-minding us that forms have a strike force.

“One is apt to think that a culture is more attached to its val-ues than to its forms, that these can easily be modified, aban-doned, taken up again; that only meaning is deeply rooted. This is to overlook how much hatred forms have given rise to when they have come apart or come into existence. It is to ig-nore the fact that people cling to ways of seeing, saying, doing,