Only on the stage of an empty theater, an author and his wife clash: the scene and the life end up getting confused.

Self-shot: a film shot without a camera operator. Sole witness: the movie camera. Fixed, directed at a single expanse, obedient to the orders of wires that I manipulate: characters splitting in two through the asymmetrical filtration of the comings and goings of self-irony. Composed of various extracts of historical films, such as the Eisensteinian battleship, intercut with stairways of various sorts; the unceasing use of negatives persecuted by positives and vice versa; a cinematic-theatrical dialogue between philosophical doubling and filmic doubling.

It is well known that the disposition of the images drawn by Escher are neither for animation nor for pre-animation; actually, quite the opposite. His images appear to be the carrying out of metamorphic dissolves. A bird gives way to the recognition of a house, which turns into fish, which turns into birds, and so on. Not a single flapping of wings takes place; everything is reiterated and fixed, becoming immersed in and re-emerging from a static continuum. All of Escher is an homage to one of the major animating forces of the cinema: the cross-dissolve. Precisely there, I found cinematic attitudes: in the house which turns into fish and in everything that transforms into something else. I gradually managed to figure out various types of non-existent sequences and then finally found myself dissolved, crossing over metamorphically. —P.G.