Here she is again, adopting her Bunny Girl/Ophelia alter-ego, making a memory-portrait of her family. The Bunny Girl is so familiar an icon of supposed feminine eroticism that the inner sadness can hide no more. The subjugative dimension of male sexuality, a projective fantasy. Like Godard, Sarah Miles can't separate personal history from cinematic history. There are film clips from Apocalypse Now, Badlands, Belle De Jour and Breakfast at Tiffany's, mixed as a collage of 'psychotic and delicate garlands'.