The figure of the assassin dominates contemporary media and cultural history. ‘Assassin’ explores the seductive spectacle of crime as manifested in cinema through the subjective depiction of the archetypal character of the assassin. Assassin takes as it starting point the plotting of a murder by a couple in love. Using a mosaic of film fragments – clips, music, subtitles, dialogue from French cinema – ‘Assassin’ creates a new text in which the binding effects of narrative have been dissolved. Part picture puzzle, part fragmented image-sequence the film operates as a form of inner speech, often disconnected and incomplete. By reworking the image and dialogue of these cinematic meta-narratives ‘Assassin’ restores a singularity to notions of collective memory.