Incidents

Not in a single moment of human history can we define the human existence entirely detached from the objects that he deploys, or lay beside her. We constantly find ourselves in an unbreakable bond with the objects around us: whether in the form of our possession of their use-value, or their conditioning of our lives, and yet our identity, in the shadow of commodity fetishism; whether when they conform to a scientific theory, or when they radically deform it. Yet again, we insist on using the term “society” while taking for granted that it is purely a collection of humans.
Not mentality, nor free will, the issue here is that of interaction. And as far as this is concerned, each member of a human-object network/collection is indeed interacting. Every piece of clothing is an object: present in every moment of communication, to the extent that even its absence conveys a message and shapes the relation. What that imports identity, that conditions it, cannot be itself devoid of it.
This film is not seeking to demonstrate a systematic notion of human-clothing interactions. Instead, it is a depiction of a rather arbitrary network and its possible connections of the nodes. While reimbursing the national and international literature and cinema before him, the filmmaker has tried to make his first steps towards research about the challenge of coexistence between the human body and clothes. The final product, whether we take it as a subject, a mere object, or rather a manipulated thing, hopes its interaction to be recognized by the audience.