At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative. Kristel’s stories wander through some of the key points in her life, naturally shaping and reshaping the narrative elements. The city itself is rarely described directly. She speaks of her films, her love-affairs and how these have influenced her life’s trajectory. The cities are co-ordinates her memories move towards; they find themselves within them and move away from them. This is paralleled in the images. They are filmed from high-up as well as street level, moving over the cities’ skin: its roofs, apartment buildings and boulevards, intercut by shots of cinemas, publicity images and people. The architecture appears as an interface between interiority and exteriority. Old Paris is intercut with images of architecture from the 1970’s; buildings which didn’t exist yet when she lived there, nevertheless they are as iconic of the period as she is herself.