The lie has once more successfully claimed its place in film. Even better: the vertiginous postmodernity of the contested narration is willingly created by a heroine, striking in the terms of an old (fashioned) feministic myth: the lying woman as deceiver – and as deceiver of the religious man. The christian nightmare in a setting of pure progressiveness. The usurper shouts: "filme-le !" – and the men obey.