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Beatrice is as messy as Henry is neat, and there are other convenient parallels as well.

In Hotel Monterey, for example, people move in and out of the frame of a stationary camera.

At 78 minutes, the film demands that you either accept it on its own terms, or leave; in a sense, the film is a return to the claustrophobic interior space of the apartment in Jeanne Dielman, but now, Akerman is at the center of the work, mercilessly exposing herself through her words, as the camera contemplates the limited view of the world outside.

Akerman often films in spaces of exile and transience, such as train stations, empty streets, hotel corridors, and other places of transition, including kitchens and domestic spaces.

The woman examining her own body in the mirror also seeks the sense of why it is that her gender should define her experience of life.

Feminist critics have scrutinised this scene, sometimes missing the camp humor inherent in such a treatment of sexuality.

Patterson, Patricia and Manny Farber.

The installation generates an overwhelming impression of people in rapid transit through the landscape.

Maybe the hairs on the chin and and the way she smoothes her hand over her flat buttocks could also be seen as drawing attention to how a woman's body is not very different from a man's.