Particularly drawn by Genet’s sole realised film Un Chant d’Amour (Song of Love, 1950), Curnier Jardin treats the work metaphorically as a costume that other bodies try on, and fantasises: what could be the Chant d’Amour performed by menopaused, non-glorious, bodies? This new parade of characters will unfold, within the editing of the film, inside a closed space, recalling the prison in the original film.