With Incipit, Carole Arcega marks a break with her plastic research focused on the medium of film film, by trying her hand at producing a "povera cinema": vertigo of a small unstabilized action camera, deaf sound dictaphone, 4/3 images, has-been special effects, low def and big pixels knock on the door of images taken from great classics and big productions in cinemascope. This confrontation of image qualities, even before their content, evokes a hierarchy of a production system in which good, expensive images dominate. This hybrid plasticity weighs on the choice of image content; these speak of the ubiquitous predation mechanisms in the representation of relationships to bodies, that of the child, that of the woman. This film also marks the introduction of the spoken word into Carole's cinema. She rubs the weight of the words like flint against the images, in search of the spark, of a flame. The spoken narration borrows from the register of auto-fiction and its dramas; games, sex, death, trauma. This new “beginning” placed in the center of the film is its climax. A story in medias res, it projects the spectator into the intimacy of a family, imposes adherence through familiarity. The spectator thus designated as a member of the family and central character of the drama which is played out there is subjected to the test of empathy. The voice is also that of the songs of little girls. Their presence in the exclusively metonymic image (games, children's drawings, split stone, etc.) reinforces the power of an out-of-screen space that must be discovered beyond appearances, beyond the sense of sight; what do we hear, what do the words of the songs, the games really mean, who are they? The spectator is mobilized through his perceptions but also in his cognitive functions; filter of perceptions, sorting of information, stabilization of ambiguities, choice of interpretations… Carole questions the forms and functioning of the story at the border between images and the literary; how can a figure of speech related to the image change its meaning, its perception? Figures of insistence, amplification, analogy, opposition, substitution… feed the cinematographic grammar here. In literature, the incipit designates the beginning of a text. It lays down the reading pact, defines the framework of the story, the narrator's point of view, the genre, the characters. But the hybrid editing of the film, by exploring different forms and cinematographic narratives, blurs the tracks: horror, animation, peplum, video games, clip, filmed newspaper, adult or children's films... found footage in all these states abuses the spectator who does not really know what to feel, what to think. We find here the pact of the major films of Carole Arcega: the confrontation with the violence of the ambivalence of our perceptions and emotions in the face of images. With one more step, she questions the honesty of the viewer; what resonates with him in the face of the story? How do ambiguous childhood memories continue their way into adult emotional confusion? How does the spectator “watcher” participate fully in what is projected on the screen? What is inner cinema and reality?