In this radical meditation on image-making, Babette Mangolte puts the viewer of the film in a vantage similar to that of the photographer looking at her subject. This structural device reveals a series of studio portraits not as neutral observational exercises, but as a subtle accumulation of interpersonal tensions and meanderings. In the film’s second half, Mangolte captures s...$阿克曼早期御用摄影的实验作品（阿克曼自己也出镜了，当时还好年轻），对静态摄影拍摄的一次影像解构，另外也是纽约影像～
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