This is the first of three parts in the two-hour version, that Eizykman considers each part able to stand on its own.

Claudine Eizykman repeats a few images - a woman on a stairway, the courtyard on an apartment building, a man at a desk - with variations, including superimposition. Sometimes the images appear in an abstracted version of color negative film, a mix of pale pinks and blacks, but more often her colors are relatively natural. Her superimpositions do not take the form of multiple exposures like Lebrat's, in which the light of each layer adds to the others and overall the image grow brighter. Instead she runs her film through the last so that dark areas in another : light is lost rather than gained.

In L'Autre Scène, the images and the sound material try to manifest the mechanism of an advertisement around the blade.

Claudine Eizykman with VITESSE WOMEN, presents a torrent, dazzling film that intersects several sequences according to various rhythms, sometimes close to the perceptive thresholds, allowing the deregulation of the senses desired by Rimbaud, opening the way to another mode of perception. —Michel Nuridsany, Le Figaro

"As Guy Fihman said, Bruine Squamma is also the story of a woman (N.K.) coming out of her house (Mozart House) speeding (tunnels) to join a man (Bléneau + cloud). And yet I wanted the shape of the film to be the furthest, the most secant, the most tenuous possible, a continuum of beats where fluctuate incessant metamorphoses swirls. I wanted to travel in a shaky and fixed form, states that continue to wither and get caught in unfixable beats." --Claudine Eizykman

A portion of a building, Maine Montparnasse, filmed from the 5th floor of a neighboring building according to architectural lines, is transformed by geometric movements more or less fast blurring our perception.

The same sequence is mingled with itself, calibrated according to curves that draw shapes on the blue or on the yellow, creating shifts in the thickness for a search of volumetric effects.

Lapse is a research of a porous state of the cinematographic material which by "intra-photogrammic fragmentation" (Claudine Eizykman) and encrustation of grains unfolds in its crackling like a film in mesh.

A single plan and its inverted double: a portion of the Avenue de l'Opera, cut out in the city where "the zoom gliding over this space, rather in a deserted space, which anticipates or participates in a disaster. "(Claudine Eizykman in Erres, No. 5, Toulouse, 1978).