This seminal 63-minute experiment by French director Jackie Raynal was part of a group of radical films financed by heiress Sylvina Boissonnas between 1968 and '70. Raynal, a film editor at the time, made this 35-millimeter film starring herself during a visit to Barcelona. Instead of a story it offers a flow of sequential events, mainly without dialogue, that formally rhyme, so that the title (“two times”) refers to her method—though some things in the film appear three, four, or five times, always with distinct variations. Years later, faced by a team of feminist film theorists, Raynal admitted that the film is partially about “the representation of the image of woman as a sign,” but apparently in the more footloose, less gender-conscious 60s she was more interested in exploring the sexy forms of duplicity between various sequences, their secret points of accord and strongest points of tension. If I wanted to convey the excitement of France in 1968, this brave, pleasure-driven provocation would undoubtedly carry me part of the way.
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