With this film, Man Ray pulverizes everything done in cinema until now. Not only does he show that it is possible to make a film in one day, almost, with laughable means, without intertitles, actors or a script, and even without a movie camera. In addition to that, with no respect for standard relationships between images, he organizes a visual collision between frames and emphasizes filmic discontinuity, creating a new cinematographic object from unsuspected potential. The film also reveals the extreme sensuality of this attitude. The filmmaker touched and manipulated the film, he placed objects on it with great delicacy, he played with the light: joy of the hand and the eye which expresses itself at the same time through Kiki’s naked back and the visual explosion of “passages built on the rayograph, where discontinuity between shots reigns”, as Paul Sharits said.

Christian Lebrat, in Nicole Brenez, Christian Lebrat – compiled by – Jeune, dure et pure!, Paris / Milano, Cinémathèque Française / Mazzotta, 2001