Martine Martin

A woman, Nadja, searches for her sister's murderer. This search goes through differing moments of reality, or unreality, that overlap within facets of a broken-up time sense. In this emulation of film noir, the investigative structure does not create suspense; the dialectic murderer/victim does not exist. The crime is fabricated bit by bit, like the staging of a spectacle, and it is in the traditional tools of seduction (the spiked heels) that the weapons will be hidden. Ultimately, the crime Nadja achieves makes her neither a triumphant heroine nor a victim.

It's been several weeks since Hani lost the use of her legs. Faced with immobility, the mourning of her dreams as a sportswoman and a suffocating family atmosphere, Hani finds herself plunged into a new environment. A seaside center for her first months of rehabilitation. In her dreams, Hani tirelessly pursues a mysterious light.