This might be the most novelistic of Hanoun's season films. It is also the one that most obviously resembles something by Robbe-Grillet in its opaque narrative strategies, and its presentation of existential mystery from the structure on up. Mobilizing as it does two fundamental regimes of activity that never definitively connect, the question of how the overlap is to be conceptualized is the core of the film itself.
Again, this director in the shadow of Nouvelle Vague - by choice and much less public and critical knowledge (but the "official" critic knows little and doesn't want to know) - made a film about the filmic discourse and its significant materiality. Two autonomous blocks are juxtaposed without any kind of dramatic relationship but with a syllable dramaturgical connection, a modernity link.