Sarah's film takes its title from Claude Cahun’s incomplete memoir (Confidences au miroir, 1945-1954). Following Cahun's text, the film includes her early as well as later life and work, which included the making of anti-fascist propaganda and her imprisonment in Jersey alongside her partner Suzanne Malherbe during the Nazi occupation of the island. Amidst a visual extravaganza of costumes and hand-made sets, Sarah explores the multiple identities Cahun expressed in both her startling black and white self-portrait photographs and her book. In the film, she dresses and makes her face up in many different ways, swapping identities between different genders and ages. The narration of the text is likewise split between different voices that overlap at certain times, and at others are in conversation.
Cahun and Sarah Pucill both share an interest in the exploration of their own identities, and of relationships between women. Perhaps you can think of ways in which your own practice could create a dialogue between yourself and a 19th or early 20th century artist who shares some of the same interests and concerns? One that springs to mind is the current interest in the sustainability of the natural world and the emphasis on drawing from nature at the School of Art in the late 1800s. If you're interested, why not visit the Archives to see our artworks and other records?