"An unknown woman reads and comments upon the letters she receives from a friend – a free-lance cameraman who travels around the world and is particularly attached to those “two extreme poles of survival”, Japan and Africa (represented here by two of its poorest and most forgotten countries, even though they played a historical role : Guinea Bissau and the Cape-Verde Islands). The cameraman wonders (as cameramen do, at least those you see in movies) about the meaning of this representation of the world of which he is the instrument, and about the role of the memory he helps create; A Japanese pal of his, who clearly has some bats in the belfry (japanese bats, in the form of ‘electrons) gives his answer by attacking the images of memory, by breaking them up on the synthesizer. A filmmaker grabs hold of this situation and makes a film of it, but rather than present the characters and show their relationships, real or supposed, he prefers to put forward the elements of the dossier in the fashion of a musical composition, with recurrent themes, counterpoints and mirror-like fugues: the letters, the comments, the images gathered, the images created, together with some images borrowed, In this way, out of these juxtaposed memories is born a fictional memory." (Chris Marker)