»Dear Blake, I never appear, but all I see is me there.« Gloomy days in a Paris apartment: Cracking an egg, watering a flower, taking a shower, smoking a cigarette. All of these things in an attempt to learn to live anew, in the sense of different, because Audrey’s friend has died. At the same time, letters permeate her senses, which she exchanges with her friends Blake and Burak between Istanbul and Toronto. Alone and yet connected to different experiences of grief, the exchange enables her to express her own thoughts, to capture daily routines and to feel her own self through the narratives of others. Like windows into other places of possibility, the friends also correspond by sending video footage. Can these friendly offerings lead to seeing or even feeling differently again? With a 3D camera in the post, Audrey is put to the test of expanding her own self-image through a third dimension.
At its world premiere at FID Marseille, A Woman Escapes was described as a manifesto of healing—but what exactly is it that heals us here? The dance of colour perception, travel and everyday artifice, immersed in the changing of materials, between digital spaces and analogue aura, makes us look back at ourselves. Where does the art of taking action begin and where does serendipity bestow us with a new experience? In film, can we succeed in not merely wanting to pervade ##one perspective##? Ultimately, this is exactly what Audrey prefaces her film with, addressing us: »The following is a story that is somewhat true, I present it as it happened, with adornment«.