In this episode of Dim Dam Dom, Duras interviews the stripper Lolo Pigalle. A clip of Lolo dancing in a golden dress is followed by an intense and intimate conversation in which Lolo discusses the definition of work, the splitting of the self, and acting vs. sex work.

Duras retrouve Aurélia Steiner, l'une des figures récurrentes de ses romans, et illustre, à nouveau, un courrier qu'elle a, cette fois, écrit à ses parents. À l'aide de plans non exploités du Navire Night, la cinéaste s'efface derrière un personnage mystérieux, qui dévoile progressivement son histoire et son passé.

Her whole childhood, Marguerite Duras spent her time moving. Her house in Neauphle-le-Château is the one she has lived in the most, and the one she says: “All the women in my books have lived in this house. All ... ” Duras tells about her house and her garden closely linked to his work, remembers the forest of her childhood and evokes her fear of music.

访谈杜拉斯，关于《印度之歌》

Description: 'Un metteur en ordre: Robert Bresson' is from a 1966 French television broadcast of 'Pour le Plaisir', a cultural television program. The phrase 'Un metteur en ordre' translates loosely to 'An Imposer of Order'. When you watch the program, you'll see that its title comes from the filmmaker's response to the interviewer's question: 'What's Robert Bresson's profession?' This episode concentrates on 'Au Hasard Balthazar' and includes interviews with Robert Bresson, Jean-Luc Godard, Louis Malle, and members of the film's cast. Bresson explains the origin of the film's title, while his contemporaries describe their reactions to the film. Several extensive clips from the film are presented, after which Bresson and his cast members offer their opinions of the meaning or consequences of those scenes. The heart of the program is an interview with Bresson, during which he talks specifically about this film. He also gives his ideas on filmmaking in general. For example, here's how he wants his performers to learn their dialogue: 'I ask them to learn their lines ignoring their meaning, as if they didn't have a meaning, as if the words were just syllables. As if sentences weren't made of words but of syllables.'

玛格丽特·杜拉斯 谈论她的作品“写作”，纪录片，时长43分钟，彩色，video。

1979 film by Marguerite Duras

1979 film by Marguerite Duras

170幅摄影组成的1分钟系列短片，由阿涅斯·瓦尔达评说，并在每一集的最后给出摄影者姓名，此短片共收集其中的14集。

1977 film

Each night in Paris, hundreds of men and women anonymously use telephone lines that date from the German Occupation and are no longer listed to talk to each other, to love each other. These people, shipwrecked lovers, are dying to love, to escape the abyss of solitude...

In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.

1975 film by Marguerite Duras