Determined to avoid reductive expressions and filmic representations as predictably unjust as that which they endeavour to disturb, I am interested in articulations of restlessness and in examining that characteristic inability of certain myths and legacies to rest peacefully. My filmic work consists in re-staging texts such as Jean Genet’s Les Bonnes and Marguerite Yourcenar’s novel Le Denier du rêve – both concerning the trope of the (failed) female assassin, of tragic anti-heroines, of isolated and individual action both in spite and on behalf of a collective, of characters outside the familiar dynamic of instigation or dispossession met with quick sharp punishment. At play are the implications in uses of re-appropriated material – ranging from literary, theatrical and historical texts to cinematic clips and references, from Gertrude Stein to Claude Cahun, Academy Awards speeches, international newspapers, oft-quoted cinematic scenes, and writing styles reclaimed from the realm of cliché or familiarity. All of which might propose workable relations between the retelling (and the retelling of the retelling) of events, keeping very much in mind the agendas which mark the distances and coincidences between the structures of facts, stories and the interests, intentions and potentialities envisioned by tellers and regurgitators.