The beam of light that cuts through the darkness of the cinema theater is the border that separates the human being from the mere body. Through the highly material, organic and humoral language of the New French Extremity (a language whose vocabulary is composed of the extreme violence of, for example, À l'interieur and Martyr as well as the human abyss of D'Agata and Grandrieux), Nolot it almost seems to anticipate the desolation of the room portrayed in Goodbye, Dragon Inn by Tsai Ming-Liang. The light and darkness of the cinema-place are the theater of the two aspects of the human being. While the film of La chatte à deux têtes ("The two-headed pussy") fills the screen, the audience present in the room where Nolot's film is set abandons itself to disinhibition and promiscuity (made even more ambiguous by the nature itself of the relationships that are created: men who watch a straight porn film practice - or have performed - oral sex and so on by other men and transvestites); but, as soon as the projector jams, the film stops and the lights in the room come back on, the bystanders hide, some behind a newspaper, some with a hand in front of their face: they regain some modesty, that modesty which, Nolot seems to suggest, it separates the mere body from the individual.