As a film essay, Ostrovsky elaborates her montage from motifs, such as scenes where characters prevail in passageways, through marked and dry steps, dance scenes under fashionable rhythms, or where Chantal evokes the sensations that the interpretations aroused in her of Sonia, and, from this, the position of the music in her works: In a film of words, the cello becomes another voice, Chantal is heard saying.