3,5. Seismograph of his time, Hanoun has anticipated and was concomitant with the revolutions - political, cultural and cinematographic- that have passed in the 60s, particularly in this case, the May 68, of which he keeps signals, signs and catchy phrases, playing them in an almost constructivist editing of effect-result, but with a typically elaboration of the time, made with a revisionist and libertarian phrasing.
Hanoun's film is one of the most idiosyncratic on the phenomenon of May '68 and its attendant cultural sensibility. Occurring entirely peripheral to the events - it takes place in Normandy - Hanoun engages the events through the 'ailleurs' of a solitary woman. Still images are all that remains from the Paris boulevards, and Hanoun's relationship w/ his actress is very much like that of a painter w/ his model.