It's the one work in which Dujourie doesn’t perform migratory passage on and off camera. Rather, she slouches on a stool in the corner of a room, legs spread, hands between them, leaning against a wall most of time as though fatigued or bored. It's the only time she appears in feminine fashion and much more make-up than usual. That could suggest that Dujourie might be role playing and critiquing gender conventions. If the woman seems to be 'cornered' by the gaze, an adjoining door offers 'escape' into another space off-screen.