‘The film opens directly and freshly with a screen journey which is also a kinetic light sculpture holding its rotation steadily before our eyes. Many associations emerge as we hear the tale in relation to this image and its shifting background. . . including a bicycle being ridden by the filmmaker, spools and spokes, a feeling of a metal insect or iridescent whirring dragonfly picking up the passing colours. As the speaker rides her story, she stays in balance. There is a still centre to the radial motion against linear road or landscape. A feeling of cyclical storytelling comes with the account of her own life and giving birth to a ‘computer literate and perfectly bilingual’ baby daughter. We are led to respond to her not being guaranteed to stay in control. She had this footless being pulled out of her by Caesarian section. Again multiple strands are knotted in this fortune wheel: gain on the swings, lose on roundabouts, with no ‘perfection’ in relations with other beings on the round of merry, or social, or just plain recurring intercourse.’- Sandra Lahire

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4mins, 1991, UK