— [...] Remember, all the threads of this film say something about the affiliation...

—...dispersed filiation, on the other hand, an exodus, rather, or later, than a genesis.

—And now, the Actor and the Author no longer discuss anything. They don't argue with each other anymore.

—Let's at least admit it, let's tell the Reader: even when, during the filming, they argued (actually, almost all the time), they never disputed the film.

—It's true, that was something else, but what exactly? Now, each one interprets for himself... Each one recovers his word.

—To each one the memory of him...

Jacques Derrida
Shooting the words: looking for the least inappropriate language to say a film, certainly, but with the intention of shooting around the words: to surround them, without however renouncing to "shoot" them, camera in hand: beyond the metadiscourse about the cinema, and to attempt, rather than a «film language», a new cimeatography of speech.

First of all, a mock dialogue: an «Actor» («alias me, Jacques Derrida») and an Author («alias me, Safaa Fathy») cross over his memory, but also his reflection. They would have needed, against the laws of the genre, to invent the status of a film, D'ailleurs, Derrida: neither a fiction nor a documentary, even if it is produced in the "Profils" series of Arte.

One of the two voices hesitates: «...touched by muteness, impoverished and destined for a place», the words «allow themselves to be dislodged by the silent icons of a film, silhouettes stronger than the language, promised images, images taken , even virtual images, saved images, excluded images. How could we speak here of all the intermingled durations of these possibles? How can we talk about our respective experiences, so different, so untranslatable from each other? How to reconcile our different resistances before what was a shoot — its day before, its places, the roles it assigns us, its own time and work, also its next day, the writing of the montage, and then the return to the screen? »

After this dialogue of indiscernible voices, Jacques Derrida ("letters about a blind man") and Safaa Fathy ("Shooting under surveillance", "Shooting on all fronts") recover the word, each on his own: two autobiocinematographies.