I was horrified when I saw M jumping off the building. The director's technique is line drawing, which is very real and scary. I heard some noises in the bedroom and thought that M was awake and was going to tell her the good news. As soon as the door was opened, M was sitting on the window frame's back (we couldn't see M's expression), and with a thud, M was lying on the ground in the small alley like a paper man.
The camera switches again, we see I wearing a work uniform, concentrating on completing the most trivial work, and being praised by the foreman, "You seem to be born to do this". It's no longer the sloppy little girl at the beginning of the film, who couldn't even tell the difference between sewing clothes and was fired after two days.
The camera zooms from I to a middle-aged female worker behind her, one, and then another... for a while on each female worker's face, like a gentle gaze. In a special introduction to the film in the Harvard Film Archive's tabloid, citing the photographer's own account, The most inexhaustible landscapes for me remain faces and bodies: I like to look at people, to look at them in order to love them . It's like dancing with someone, except with a camera you don't touch them. I just want to tell them that I'd like to put my hand on them. ---Agnes Godard (she herself will come to Harvard on Friday How did ps be written as an advertisement post by me~~)
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