A too rare filmmaker, Lucile Hadzihalilovic has just completed with the grandiose Earwig a trilogy on childhood as a transitional stage, both rếvée and nightmarish. Innocence establishes the rules, between the playground and the discipline. A narrative in concentric circles, shot compositions of instant pictorial omnipotence, an absolute mastery of cutting to build a wispy atmosphere, this film, like its successor Evolution, presents its performers as chrysalises, without dehumanising them, quite the contrary. Lucile Hadzihalilovic creates a dialogue between her motifs in whispers, questioning the gaze in suspended moments.