This disconnection imbues the apparently dispassionate camera direction with a sense of what Giuliana Bruno has called an “erotic nomadism.”1 This “nomadism” is perceptible in the ways in which Akerman occupies the city as both a resident and an outsider with emotional links to another “home.” But it also visible in the oblique glances she takes at fellow citizens and in the spaces in which she wanders, largely at dusk and seemingly without purpose. Playing on her sense of separation from those around her by focusing on the city’s architecture, rather than its residents, Akerman, according to
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