cinĂŠwomen/15
death. They seem like puppets that play their tiny roles in the narrow space of their desires. This is some peculiar terrarium in which the creatures are relatively free to move but their surroundings seem a confined and pre-set mock-up. The introduction of the voiceover was obvious because of the subject of the film: it prevents us from approaching the characters and getting identified with them. It works a bit like in real life: it blurs the past moments. Having a voice-over has its advantages: it stratifies the film’s diegesis, clarifies and elucidates the picture, or introduces a gradation of viewpoints. A narrator has a broader perspective but it is bereft of human features. On the other hand, actors can see less: they experience but are not able to explore. From the first time we watched your film, we thought of Gilles Deleuze's
words
Punctum invites the viewer into a hypnotic, subjective flow of figurative images, surreal scenes are rendered in clear, precise images. How did you develop the narrative structure of your film? Indeed, Punctum is a stream of images. The film has no linear narrative or time linearity, which results from a rather unusual approach to the work on the script. The characters are merely sketched out: we do not go deeper into their world, we just pay a fleeting visit. The absence