Panning shots describe the space of a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. Sitting on the bed there is the presence of a young woman: the filmmaker herself, eating an apple.
“The problematic relation between a woman’s daily routine and her creative everyday is dramatically highlighted through the flight into a secluded room – in which the stakes of her art will be proven. It is in this room apart that Akerman performs rituals of order and disorder, as if carrying out a continuous aesthetic experiment. This room is especially charged with an obsessive quality that points to a central problematic in her films: the autonomous person.”