Winter in Paris

Like another one of her "Paris films"– namely 66, rue Stephenson – Winter in Paris begins with an interior shot – or, to be more precise, a still-life of a window sill. But the camera is not interested in dwelling on motionless matters for long, and with a slow but decisive movement, it finds its way to scaffolding outside, where more exciting matters are to be observed and shown. It briefly appears that the filmmaker has found her visual subject in the geometrical abstraction outside her window. But the film soon changes its register and shifts away from the...