A man films himself in bed in the morning, as soon as he is awakened by the lamps illuminating him (1800 Watts) and by the radio (tuned to France Culture), programmed for this purpose. He declares, microphone in hand, that he will go to bed early that evening because he is tired and "this can't go on any longer."

LA PIETRA DEL PARAGONE (The Touchstone) concerns the Count Asdrubale who is wealthy and therefore of great interest to many women – notably Aspasia, Fulvia, and Clarice. Only Clarice, however, loves him for something other than his riches. There are also male hangers-on: the corrupt journalist Macrobio, the poetaster Pacuvio, and Giocondo, who is Asdrubale's true friend, but who has his own eyes on Clarice. To test his friends and would-be fiancées, Asdrubale pretends that he has been bankrupted. Sure enough, only Clarice and Giocondo stand by him, and when his fortune is "miraculously" saved, the three have the last laugh on everyone else... or do they? This production is set in what looks like the early 1960s. But the real innovation is the use of blue screen technology: using tiny cameras and sets, along gigantic screens hanging over the stage, a kind of video mixing makes the singers appear to inhabit any number of fanciful settings and perform a myriad of improbable actions.

Self-filming. A parody of the pornographic (male) gaze.

Remake of the eponymous film by Pierrick Sorin released in 1993. Comedy about a peeping tom. A parody of the male pornographic gaze.

Self-filming. A parody of the pornographic (male) gaze.