en Cuevana 3. For ten years, Christian Marclay collected film excerpts featuring a door opening or closing. He edited these sequences so that we see the actors going through the door to enter another space. Going through the door marks the edit point, thus the passage from one film to another and from one soundscape to another. Both audio and visual, this editing suggests a labyrinthine wandering, a mental architecture in which the characters get lost and find themselves again.